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 THE

ELDER PLINY^S CHAPTERS

ON THE

HISTORY OF ART
 Tnerrtoiuiioaaur-' 'poW
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COD. BAMB. M. V. lo. FOL. 59.

[Original size of page = 26 x 21'gcin.]

 THE

ELDER PLINY'S CHAPTERS

ON THE

HISTORY OF ART

TRANSLATED BY

K. JEX-BLAKE
CLASSICAL LECTURER AT GIRTON COLLEHE, CAMBRIDGE

WITH COMMENTARY AND HISTORICAL INTRODUCTION

BY

E. SELLERS
FORMER STUDENT OF GIRTON COLLEGE, CAMBRIDGE,
AND OF THE BRITISH SCHOOL AT ATHENS

AND

ADDITIONAL NOTES CONTRIBUTED BY DR. HEINRICH LUDWIG URLICHS

HonOon
MACMILLAN AND CO., Ltd.
NEW YORK THE MACMILLAN
: CO.

1896

\^All rights reserved']

S

^
 PREFACE
The text printed in the following pages is based upon
that of Detlefsen, but free use has been made of both earlier

and later critical auxiliaries. We differ from Detlefsen

mainly in adhering more closely to the Codex Bambergensis,
whose superiority in respect of those parts of the Historia

now reproduced must be regarded as incontestable. Our

short critical apparatus is limited to notices of our devia-
tions from Detlefsen, or of readings offering special interest
or difficulty. For brevity's sake the name of Detlefsen
stands in our apparatus not only for his own readings but
whose views he adopts. In
also for those of the scholars
none but a few important cases do we print Detlefsen's
sources. I have to thank Mr. Fischer of Bamberg for kindly
verifying a number of readings in the Bambergensis, and
Dr. Leitschuh, Chief Librarian at Bamberg, for permis-

sion to reproduce in facsimile a page of the famous codex.

The present text has been prepared under the guidance
of Dr. Ludwig Traube, who, moreover, has generously
placed at our disposal a number of his own readings or
conjectures.
Out of the many problems which even this short selection

from the Historia Naturalis offers, the Introduction pro-

fesses to deal only with the question of Pliny's Greek
sources for the history of art ; it touches upon his Roman
authorities only in so far as these were the channel through
which the Greek authors reached him. The question is
viii PREFACE
one which, so far from being, as was supposed, either
exhausted or incapable of solution, is still in its infancy.

Where an earlier school was content to trace back Pliny's

debt to his Roman predecessors, a newer method of
inquiry enables the student to work backwards not only
from the Roman to the Greek authors, but from one Greek
author to another. So it is that, returning to the Introduc-
tion after an interval, it became clear to me (see footnotes

on p. xliii f.) that in matters of anecdote and biography

Antigonos of Karystos was seldom, if ever, to be regarded
as an ultimate source, and was to a far greater extent than
I had at first supposed the debtor of Duris. Nay, I be-
lieve that we may in time recover (to some extent) the
authorities which Duris himself had at his command. I am
profoundly indebted to Dr. F. Munzer for reading and
criticizing the proofs of the Introduction up to p. Ixxiii,
and for allowing me to publish as footnotes and Addenda
the suggestive remarks made to me in the course of a
detailed correspondence.
I have endeavoured to make the notes printed below
the text a real commentary to the author's meaning, not
a bundle of bibliography. Modern commentators might
still lay to heart the criticism passed by Scaliger on the
Pliny of his friend Dalecampius : le bon homme est docte,
mats il farcit trap ses annotations deje ne sais quelle fatraille
d'autezirs . But wherever further revision showed that
. .

I had done but scant justice to important though dissentient

views I have tried to remedy the omission in the Addenda.

There too a few notes are printed the necessity for which
occurred to me later, and reference given to quite recent
literature.

One group of contributions has been made to this book

calling for special notice. When my work was already ad-
vancing towards completion, I learnt that Dr. H. L. Urlichs
was himself engaged upon an edition of the same parts of
 PREFACE ix

Pliny. With ready generosity, however, Dr. Urlichs offered

me at once for my own book a number of his notes,
which we agreed should be printed in square brackets and
marked with his initials H. L. U. Subsequently, however,
Dr. Urlichs informed me, to my regret and surprise, that
the present edition would block the way for his own
accordingly, since he had given us notes, whose value
is undeniable, we acceded to his request that his name
should be placed as a third on our title-page. In fairness
to Dr. Urlichs, I should add that his contributions and his
responsibility begin and end with the notes that bear his

initials.

Besides those scholars who have given me constant and

special help, I have to thank Mr. A. S. Murray, M. S.
Reinack, and Professor Wilhelm Klein for many friendly
hints, Mr. Bernhard Berenson for helping me to a better
understanding of passages concerned with the technique of
art, and Director G. von Lanbmann for the singular privi-

leges accorded to me as a reader in the Royal Library

at Munich. Above all am I beholden to my friend Miss
K. Jex-Blake, not only for undertaking the translation, but
for her liberality in allowing certain readings to be printed,
of whose soundness she was not fully convinced. She has
also found time, amid the arduous tasks imposed by
College lecturing, to compile both Indices, and to assist
in the revision of the book throughout.

EUGENIE SELLERS.
ScHWABiNG, Munich.
Jnly, 1896.
 CONTENTS
PAGE
Facsimile of Cod. Bamb. M. V. lo. f. 59 . . • facing title

Preface vii

Introduction xiii

1. Xenokrates of Sikyon xvi

2. Antigonos of Karystos xxxvi

3. DurisofSamos xlvi

4. Literary epigrams Ixviii

5. Heliodoros of Athens baciv

6. Pasiteles of Naples Ixxvii

7. Varro, Cornelius Nepos, and Fabius Vestalis . . Ixxxii

8. Mucianus Ixxxv

9. Pliny's own Additions — Roman Museography

Retrospect xci

Bibliography xcv

Manuscripts c

Silver-chasing 2

Bronze Statuary 6

Painting 84
Table, showing —A. The Thebano-Attic School 1

{ . . to face p. 118
B. The Sikyonian School . )

Table, showing —A. The Family of Polykles .

to face p. 208
. .
B. The Family of Athanodoros I

Modelling 174

Sculpture in Marble 184

Appendix 217

Addenda 229

Index I, of Names of Artists 243

Index II, Museographic 247

 PLINY THE ELDER

and was why he rode in a litter in Rome. I can remember his blaming
this too
me walking I need not, he said, have lost those hours, for he thought all
for ;

time lost that was not given to study.

 INTRODUCTION
The Historia Natiiralis of Pliny was intended not only to
embrace the whole of the Natural Sciences, but to consider them
in their application to the Arts and Crafts of Civilized Life.

Hence it is that in a work, whose title would least suggest it,

a short yet complete History of Art finds a logical place within
the scheme. To Pliny the arts of chasing in silver and of casting
in bronze are simply the complement of the
indispensable
chapters on metals, while, in thesame way, the arts of sculpture,
of painting, and of gem-engraving come under the head of kinds
of earth and precious stones. Pliny's larger and compacted
purpose might thus, on the face of it, seem to condemn this
present detachment of the History of Art for separate treatment.
But that general commentary on Pliny in the light of modern
research, to which the texts of Sillig and L. von Jan were but to
serve as preliminaries ^, seems likely, owing to the multifarious
contents of the Historia, to remain in the region of unachieved
possibilities, if not further away still — in Utopia : il faut plus
d'un homtne pour ecrire sur le grand Fline '^.
Meanwhile, from
the nature of the subject, the Plinian account of Ancient Art
and Artists forms an episode sufificiently complete in itself to be
made, without further apology, the subject of a special inquiry.
In the Dedicatory Letter addressed with the Historia to the
co-Emperor Titus, Pliny has himself announced that the '
twenty
thousand matters worthy of attention contained in the ' thirty-six

volumes of work were 'gathered from some two thousand

his

books ' ^ ; we must

therefore regard his work as nothing more
than a compilation from other records, in which personal obser-
vation plays no part outside the range of contemporary events.

' The gigantic scheme had been Kunst, p. 264.

conceived by Lorenz Okens (1779- ^ Scaligerana (ed. l657), p. 189.
1859) ; see Stark, Archdologie der ' Praef. § 17.
xiv INTRODUCTION
An irreparable accident, however —the total loss of the art-

literature which preceded Phny books with —has given to the

which we are here concerned an unique value. It so happens

that from his pages only can we now obtain something hke
a connected impression of the art-literature of the Greeks, as
it no longer actually to him, at any rate to some
lay open, if
of his immediate predecessors. For although Pliny in his Preface
makes a great show of acknowledgement to his authorities, and
announces his intention, which he duly carried out, of compiling
Indices of their names ', a very slight acquaintance with his work
is sufficient to show that for no part of it did he ever read
a Greek author systematically through ^ while for the history of
the artists we are safe in asserting that not one of these authors
was If the names of Apelles, of Melanthios,
directly consulted.
of the Sikyonian Xenokrates, of biographers such as Antigonos

' These lists are suffixed in the toribus: Messala oratore, Messala
MSS. to the table of contents of each sene, Fenestella, Attico, M. Varrone,
book, with which they together make Verrio, Nepote Cornelio, Deculone,
up the first book of the Historia, and Muciano, Melisso, Vitruvio, Cassio
are also given singly before each book; Severe, Longulano, Fabio Vestale qui
they contain the names of 146 Roman depictura scripsit. Extemis: Pasitele,
and 327 foreign authors. For the con- Apelle, Melanthio, Asclepiodoro, Eu-
venience of the reader I print here the phranore, Parrhasio, Heliodoro qui
Indices to Bks. xxxiv-xxxvi, italicizing de anathematis Atheniensium scripsit,
the names of the writers upon art Metrodoro qui de architectonice scrip-
Libro xxxiv continentur (here fol- sit, Democrito, Theophrasto, Apione

low the contents) . . . Ex atuto- grammatico, Timaeo qui de metallica

ribus : L. Pisone, Antiate, Verrio, M. medicina scripsit, Nymphodoro, loUa,
Varrone, Cornelio Nepote, Messala Apollodoro, Andrea, Heraclide, Dia-
Rufo, Marso poeta, Boccho, lulio gora, Botrye, Archedemo, Dionysio,
Easso qui de medicina Graece scripsit, Aristogene, Democle, Mneside, Xeno-
Sextio Nigro qui item, Fabio Vestale. crate Zenonis, Theomnesto.
Extemis Democrito, Metrodoro
: Lib. xxxvi continentur . . . Ex auc-
Scepsio, Menaechmo qui de toreutice toribus: M. Varroru, C.Galba,Cincio,
scripsit, Xenocrate qui item, Antigono Muciano, Nepote Cornelio, L. Pisone,
qui item, Duride qui item, Heliodoro Q. Tuberone, Fabio Vestale, Annio
qui de Atheniensium anathematis Fetiale, Fabiano, Seneca, Catone
scripsit, Pasitth qui de mirabilibus censorio, Vitruvio. Extemis: Taea-
operibus scripsit, Timaeo qui de me- phmsto, Pcuitele, lubarege, Nicandro,
dicina metallica scripsit, Nympho- Sotaco, Sudine, Alexandre polyhis-
doro, loUa, Apollodoro, Andrea, tore, Apione Plistonico, Duride,
Heraclide, Diagora, Botrye, Arche- Herodoto, Euhemero, Aristagora,
d&io, Dionysio, Aristogene, Democle, Dionysio, Artemidoro, Butorida
Mneside, Xenocrate Zenonis, Theo- Antisthene, Demetrio, Demotele
mnesto. Lycea.
Lib. XXXV continentur . . . Ex auc- ' See Teuffel, p. 761.
 MODERN AUTHORITIES xv

of Karystos, or Duris of Samos, figure in the Indices, rousing

the curiosity and ambition of the modern scholar, they are there
simply because Pliny had found them quoted by the Roman
authors from whom he habitually drew — in this caseby Varro,
who, in turn, had presumably taken his own information on the
subject from a single writer in whose pages the others were
already cited. /Thus, although the Plinian Indices might mislead
us into believing that his work was a mosaic, a piecing together
of the several statements of all the authors, Greek or Roman,
whose names he quotes, we shall find, on the contrary, that it

resembles a stratification of which the superimposed layers can

still be distinguished at many points, even though at a number
of others they have so run together as to baffle analysis.
The result of such an analysis, if complete, would be nothing
less than to isolate and restore to each writer his own contri-

bution; nothing proves so well the difficulty of the task as

the great amount of labour already expended in this direction.
And this brings me to record the debt which every student of
the Plinian art-books owes to the scholars by whose undaunted
industry Pliny and his authors have gradually been brought into
right relation Jahn, who by detecting the homogeneous
: to Otto
character of a number of scattered art-criticisms, and pointing
out their immediate Varronian authorship and ultimate Greek
origin, laid a solid basis for all future research in this field '
; to

A. Brieger, who made the first attempt to determine the names

of the Greek writers whose views Varro had latinized'; to
Heinrich Brunn, who first tried to restore Pliny's system of quota-
tion from his authors ' ; to the scholars among them Theodor —
Schreiber'^, Adolf Furiwangkr" , Gustav Oehmichen^, Xarl Roberf

' O. Jahn: Ueber die Kunsturtheile Hist. Lib. relatis Specimen. Dissert.
des Plinius in Berichte der Sachs. Leipzig, 1872.
Gesellschaft d. Wissenschaften, 1 850, ° A. Furtwangler Plinius u. seine
:

pp. 105-142. Qttellen iiberdie Bildenden Kiinste in

^ A. Brieger: De Fontibus Libra- Supplebd.ix der Jalirbb.f. Klass. Phil.
rum, xxxiii-xxxvi, Nat. Hist. Plin. Leipzig, 1877.
quatenus ad artem plasticam pertinent. ' G. Oehmichen : Plinianische
Dissert. Greifswald, 1856. Studien zur geographischen und
^ H. Brimn : De Auctorum Indi- kunsthistorischen Literatur. Erlan-
cibus Plinianis. Disp. Inaug. Bonn, gen, 1880.
1856.
' C. Robert: Archdologische Mar-
* Quaestionum de
Th. Schreiber: chen aus alter u. neuer Zeit, Berlin,
Artificum Aetatibus in Plin. Nat. 1886 (ch. i-iv and vi-viii).
 XVI INTRODUCTION
L. von Vrlichs^, and his son H. L. Urlichs"^, who, following —
in the steps of these pioneers,developed or corrected their views
and last, but not least, to F. Munzer, who only the other day ',
when the question had begun to show signs of exhaustion, gave
it a new stimulus through his vigorous attempt to ascertain the

Greek element in Pliny by a minute comparison of those parts

suspected to be Greek with the extant fragments of certain
authors mentioned in the Indues. In what follows, I propose
to bring together, in a survey of the gradual growth of the Plinian
history of the artists, such results as have been attained, carrying
forward by the way the task of identifying and disengaging the
Greek writers upon art mentioned by Pliny.

§ I. Xenokrates of Sikyon [fl. about 280 B.C.).

In the criticisms or verdicts upon celebrated artists, now dis-

jointedly scattered throughout the Plinian narrative, but recognized

by Otto Jahn {op. cit.) as vitally interdependent, we touch at
once upon the original groundwork. These criticisms have it in
common that they all culminate in a broad statement of the
special services rendered to art by the artist in question; they are
presented for the most part as the effect produced by the artist's

works upon the critic ; and they are all consistently free from
anecdote or epigram, in contrast to the phraseological character
of so much of the ancient art-criticism. Their principle is most
readily grasped in the judgements passed upon the iive most
famous statuaries — Pheidias, Myron, Polykleitos, Pythagoras,
and Lysippos — in xxxiv, 54-65. It is inslructive minutely to
analyze these criticisms when freed so far as may be from the
additions made to them by later writers*. In the following
scheme I have indicated, within square brackets, the nature of
these additions.

1 L. Urlichs : Die Quellmregister Plinius in Artijicum Historia usus

2« Plinius ht%tcn Biichern. Progr. sit,Metz, 1885 and H. Voigt De
;

"Wurzburg, 1878. ^ Pontibus earum quae ad artes perti-

^ H. L. Urlichs : tjber Griechische nent partium Nat. Hist. Plin. quaes--
Kunstschriftsteller. Dissert. WUrz- Hones. Halle, 1887.
bnrg, 1887. = F. Miinzer: Zur Kunsigeschichte
Besides the works cited as of lead- des Plinius in Hermes,
vol. xxx i8qs
ing importance, mention may also be 'In doing this I have been guided
made of the two following disserta- almost entirely by the analysis
of
tions :
J. Dalstein,
Quihus Fontibus Miinzer, op. cit. p. 502 ff.
 XENOKRATES OF SIKYON

I. Pheidias.

Phidias praeter lovem Olympium

fecit ex ebore Minervam Athenis, quae
. . . . . .

est in exaere vexo (^follows allusion to 'Amazon' in % 53)

Parthenone stans, . . .

Minervam tam eximiae pulchritudinis ut formae cognomen acceperit. fecit

et cliduclium \JoUows mention of an Athena in Rome, of two draped figures
and a nude colossos, all frotn Rom. Museogr. p. xci] primusque artem
toreuticen aperuisse atque demonstrasse merito iudicatur.

II. Polykleitos.
Polyclitns Sicyonius Hageladae discipulus diadnmenum fecit {follows epi-
grammatic qualification, p. Ixviii, and price paidfor the Diadumenos, p. Ixxxiv],
idem et doryphorum \_follows epigrammatic qualification ; second mention under
the name 'canon'' of the doryphoros, p. xli] fecit et destringentem se et nudum
telo incessentem [followsmention of knucklebone players, at Rome, in Hall
of Titus, p. xcii of a Hermes at Lysimacheia, on authority of Mucianus,
;

p. xc of a Herakles at Rome] hagetera arma sumentem [follows from an

;

anecdotic source, the mention of Artemon suma?ned periphoretos' Add. ' —

p. 235] hie consummasse hanc scientiam iudicatur et toreuticen
sic erudisse ut Phidias aperuisse. proprium eius est uno crure
ut insisterent signa excogitasse, quadrata tamen esse ea ait
Varro et paene ad exemplum.
III. Myron.
Myronem Eleutheris ipsum discipulum bucnla maxime
natum Hageladae et
nobilitavit [follows allusion to epigrams upon the heifer'], fecit et canem et
discobolon et Perseum et pristas et Satyrum admirantem tibias et Minervam,
Delphicos pentathlos, pancratiastas [follows mention (a) of a Herakles in
Rome, (b) of the grave of a grasshopper and locust, see Comm. p. 46, 1. 4, (c) of
an Apollo restored to Ephesos by Augustus, p. Ixxxix] primushicmultipli- .

casse veritatem videtur, numerosior in arte quam Polyclitus et

in symmetria diligentior, et ipse tamen corporum tenus curiosus
animi sensus non expressisse, capillum quoque et pubem non
emendatius fecisse quam rudis antiquitas instituisset.

IV. Pythagoras.
eum Pythagoras Reginus ex Italia pancratiaste Delphis posito eodem
Vicit ;

Leontiscum fecit et stadiodromon Astylon qui Olympiae ostenditur et

vicit et ;

Libyn puerum tenentem tabellam eodem loco et mala ferentem nudum [follows
mention, from an epigram, of the Philokietes at Syracuse, p. Ixix] item Apollinem ,

serpentemque eius sagittis configi [follows mention, from an anecdotic source,

of the Citharoedus' at Thebes, Miinzer »/. cit. p. 525], hie primus nervos
'

et venas expressit capillumque diligentius. (irputTov SoKovfra UvOa-

ydpav pvS/iov Kal avu/ieTpias iaroxoaBai Diogenes Laertios, viii, 46. J—

V. Lysippos.

[The account of Lysippos opens with an anecdote given on the authority of

Duris, p. xlvi.]
(Lysippus) fecit . . . destringentem se [follows its dedication at Rome;
b
xviii INTRODUCTION
anecdote of Tiberius' s fassion for the statue], nobilitatur Lysippus et
temulenta

tibicina et canibus ac venatione {mention, on authority ofMucianus (p. Ixxxvii;,

of the chariot of the Sun at Rhodes'], fecit et Alexandrum
Magnum maltis
idem
operibus a pueritia eius orsus {follows Nero's maltreatment of the statue],
fecit Hephaestionem Alexandri Magni amicum \its ascription by
other authori-

ties to Polykleitos ; Pliny'sown comment, p. xciii], item Alexandri venationem

quae Delphis sacrata Athenis Satyrum, turmam Alexandri in qua
est,
amicorum
eius imagines summa omnium similitudine expressit {mention of removal of
quadrigas multorum generum. statuariae
arti
the group Home], fecit et
to

plurimum traditur contulisse capillum exprimendo, capita mi-

nora faciendo quam antiqni, corpora graciliora siccioraque,
per quae proceritas signorum maior videretur. non habet Lati-
num nomen symmetria quam diligentissime custodit nova iu-
tactaque ratione quadratas veterum staturas permutando
propriae huius videntur
[follows apothegm quotedfrom Duris, p. Ixiif].
esse argutiae operum custoditae in minimis quoque rebus.

To which may be added :

VI. Pupils of Lysippos, and Telephanes of Phokaia.

Filios et discipulos reliquit laudatos artifices Laippum, Boedan, sed ante

omnes Euthrycraten, quamquam is constantiam potius imitatus patris quam
elegantiam austero maluit genere quam iucundo placere. itaque optume ex-
pressit Herculem Delpiiis et Alexandrum Thespis venatorem et Thespiadas,
proelium equestre, simulacrum ipsum Trophonii ad oraculum, quadrigas com-
plures, equum cum fuscinis, canes Tenantium. huius porro discipulus fuit
Tisicrates et ipse Sicyonius, sed Lysippi sectae propior, ut vix discemantnr
complura signa, ecu senex Thebanus et Demetrius rex, Peucestes Alexandri
Magni servator, dignus tanta gloria, artifices qui compositis voluminibus
condidere haec miris laudibus celebrant Telephanen Phocaeum ignotum alias,
quoniam in Thessalia habitaverit, et ibi opera eius latuerint, alioqui suifragiis
ipsonim aequatur Polyclito, Myroni, Pythagorae. laudant eius
Larisam et Spintharum pentathlum et Apollinem {follows, from a different
source, a variant explanation of the obscurity of Telephanes\

It is now a commonplace of archaeology that these closely

connected criticisms were designed to establish a comparison

of the five principal artists {insignes), based upon their gradual

conquest of the problems of symmetry and proportion, and of

certain minor technical details such as the rendering of the hair,
of the sinews, or the veins : Pheidias discovers the possibilities
of statuary; Polykleitos it and makes his statues
perfects
rest on one leg, yet he fails because his figures
their weight
are too square and monotonous Myron surpasses him by
;

^attaining not only to symmetry but to variety, yet he fails in the

rendering of the hair ; Pythagoras is more successful with hair and
moreover learns how to express the sinews and the muscles at •

this point we are brought up short by finding that, in Pliny

 XENOKRATES OF SIKYON xix

nothing is said of the relation of Pythagoras to symmetry. This

is however an omission for which the Roman author, Phny or
Varro, is responsible ; for the record of that artist's contribution to
symmetry is preserved in the passage quoted above from Diogenes
Laertios' Comm. p. 48). There we learn that Pythagoras
(cf.

was considered the first artist to aim not only at symmetry but
also at rhythm —
in other words at the correct rendering of pro-
portion, not only in figures at rest, but also in figures in motion.
Lysippos, finally, achieves the perfect proportion, by modifying in
a manner peculiar to himself the ancient canons, and solves by
the way the minor technical difficulties in the rendering of the
hair. The guiding thought is analogous to that which prompted
Dionysios to classify the orators into inventors of their art
evperai,and its perfectors TeXeiaTcd ^.
The mention of Varro in § 56 certainly proves, as Jahn saw,
that he was Pliny's immediate authority for the whole series of
the criticisms j but it is equally certain that they did not
originate with him. So rigid a scheme of
development artistic

would be a most unlikely product of the varied and miscellaneous

literary activity of that compiler. It is moreover strongly coloured

by the partisanship of a school and obviously devised to the

honour of the Sikyonian Lysippos, the greatest artists falling into
place as his precursors. Besides, the words non habet latinum
nomen symmetria ... in § 65 show sufficiently that Varro had
only been translating from the Greek. He appears here as the
intermediary between Pliny and the Greeks precisely as, in the
earlier books of the Historia, Trogus or Nigidius Figulus are
named as authorities for facts or observations drawn by these
writers from Aristotle '-

The Greek author whose views on the gradual development of

art passed, through Varro, into the pages of Pliny was not only
a warm admirer of the Sikyonians, but, to judge from the exclusive

^ Furtwangler, Plinius u. seine tuv A.ia)(iv7iv, teal 'tTrepeiSTjv ^/zcfs Kpi-

Qtielkn, p. 70. vojiiv.

2 Dionysios Halik. De JDinarcho ^ Nigidius is quoted for Aristotle
iud.: Uepl Aftvapxov tov frjTopos in ix, 185, Trogus in xi, 275, 276;
ovdlv ciprjKibs kv roh mpX twv apxcituv see F. Aly, Zur QuelUnkritik des
ypaipfiaiv, Sia to /«7t£ evpfT^v ISiov dlteren Plinius, p. 10 f.; Montigny,
•^^•^ovivaL xapaicT^pos tov avSpa, &airep Quaestiones in Plin, Nat. Hist de
Tdv Avcriav, Kal tov 'laoKpaTrjv, xal Animalibus Libros. Bonu,l844; Teuf-
Tbv^lffaiov HT]Te TWV evprjfievojv ^Tepois fel, p. 761.
Te\(uaTriv, &air(p toi/ Arjiioaffivtjv, Kal

b a
 XX INTRODUCTION
stress which he lays upon certain sides of technical progress, an
artistjudging from the standpoints which he had himself been
trained to esteem most highly. We have not far to go to fix upon
his name. He must be, as Robert first definitely pointed out ',
that Xenokrates, himself a pupil of two distinguished Sikyonians,
Teisikrates and Euthykrates, who is cited in the Index to Bk.
xxxiv and in § 83 as having written on bronze statuary, and in xxxv,
68 upon painting'- In the latter passage he is named con-
jointly with Antigonos, another art-writer, who, as we shall

presently see, is in great measure responsible for the additions of

epigrammatic or anecdotic character made to the earlier history

by Xenokrates.
^ But the scheme of development propounded in the famous
five criticisms involves a curious anachronism Myron is made :

posterior to Polykleitos, Pythagoras posterior to both. That this

anachronism cannot be due to mere negligence appears from the

carefully thought-out nature of the context. I think it is clear
from the remark preserved in Diogenes, concerning the rhythm
contributed to statuary by Pythagoras, that, alongside considera-
tions ofsymmetry and proportion, the idea of an evolution from
motion influenced the chronological
figures at rest to figures in
order adopted by the author of the criticisms. After the stately
seated or standing gods, goddesses, and temple-attendants of
Pheidias come first the quiet athletes of Polykleitos, just shifting
the weight of the body to one leg as in the act of walking, then

' Archdologische Marchen aus alter 135 a, b, are from Oropos, a region
und mtter Zeit, pp. 28 ff. A. Brieger, for which both Teisikrates, the master
De Fontibus, p. 46, had first pointed of Xenokrates, and Thoinias, son
cat that the verdicts on the bronze of were at one time
Teisikrates,
statuaries could be traced beyond active (/. G. B. 120-122 a). But it
Varro back to Antigonos and Xeno- Is strange that an Athenian, who in
krates cf also Th. Schreiber, Quaes-
; inscribing his name was careful in
tionum de Ariif. Aetat., p. 27!!., and at least two cases G. B. 135 a,
(/.
Furtwangler, 0/. «V. p. 68 ; but it was and the new inscription -also from
Robert who first disentangled the Oropos— '£07;^. apx- 1892, 51, cf.
special contribution of Xenokrates. Diels, Anzeiger, 1893, p. 138 f.) to
^ His identification with the Athe- record the country of his birth, should
nian Xenokrates, son of Ergophilos, have come so completely to identify
of the inscriptions from Oropos and himself with the Sikyonians as did
.Elateia (Loewy, Inschrifien der Crie- the Plinian writer, or have so
often
chischen Bildhauer, 135 a, b, c) ap- entirely passed over, or
dismissed
pears to me, on the other hand, with only a passing allusion, the
doubtful (see Coram.). The strongest famous artists of his own country,
argument in its favour is that Loewy,
 XENOKRATES OF SIKYON xxi

the works — athletes

also for the greater part of Myron and —
Pythagoras. Now, if we place the Myronian Diskobolos with ' '

its audacious movement next to the Polykleitan Diadumenos or ' '

'
Doryphoros,' and adopt the recent conjecture ', which attributes
to Pythagoras the fine boxer in the Louvre''', and the athlete in
violent motion of the Boboli gardens'
two statues which surpass—
even the Diskobolos in movement and animation we shall at —
least understand how, at a time when art-criticism in our modern
sense was scarcely existent, such statues would give rise to the

perverse chronology of §§ 55-59.

The account of the pupils of Lysippos is obviously inseparable
from the account of Lysippos himself. To Telephanes we shall
return presently. Before we proceed to track out Xenokrates
further, we should, however, note the significant fact that wherever,
in the passages just discussed, the locality of a work of art is

either given or can be recovered from other sources, it lies

within a restricted geographical beat, comprised by Olympia

(§§ 54, S9)> Delphoi (§§ 57, 59, 64, 66), Lebadeia, Thespiai, and
Thebes (§§ 66, 67), and finally Athens (§§ 54, 64)*- From this

we may gather that Xenokrates (who probably had little oppor-

tunity for distant travel) confined himself to the mention of
monuments of which he had personal knowledge.
A glance
at the chronological tables of §§ 49-52 shows them

to be by the author of the criticisms ; in the one as in the other

—
Pheidias opens the series Lysippos with the brilliant attendance
of sons and pupils closes it. If the Xenokratic authorship of
the chronology needed confirmation, we should find it in the
fact that Polykleitos, Myron, Pythagoras, are placed in the same
curious order as in the verdicts. The activity of Xenokrates
cannot have extended much beyond 01. 121, the date he assigns
to the pupils of Lysippos, and it is noteworthy that, although
his treatise was extensively enlarged by later writers, yet the
period with which it closed was adopted as representing the
close of art in Greece. Cessavit deinde (after 01. 121) ars, writes
Pliny, ac rursus Ofytnpiade CL VI revixit, the revixit not so much

^'Fmt«'a.-a^er,Masterpieces0f Greek * Cf. Miinzer, <?/. cit. p. 505. Of

Sculpture, p. 171 f; cf. E. Reisch, the works whose locality is not indi-
Weihgeschenke, p. 44. cated, the Athena tam eximiae pulchri-
' Phot. Girandon, 1207. iudinis of Pheidias (see Comm. to
' Phot. Amdt-Bruckmann {Einzel- xxxiv, 54, 1. 2), the cow of Myron, and
verkauf), 96. his Perseus were at Athens.
xxii INTRODUCTION
marking a real revival as affording a convenient formula to
introduce the Greek artists who decorated at Rome the famous

erected by Q. Metellus Macedonicus

'.
monuments
of the
evident that the chronological and narrative parts
It is

Xenokratic treatise had originally formed one consistent whole,

which some later writer afterwards subdivided into a chronology

and alphabetical lists (cf. p. Ixxx). The five most famous artists,
however, and the pupils of Lysippos were left, owing to their
great reputation, in the original Greek order, though sundered
from the chronology. Moreover, Telephanes of Phokaia (§ 68)
and Praxiteles (§§ 69-71) were assigned places— in no sort
of chronological order— between the pupils of Lysippos and
the first alphabetical list. The reasons for the exception made
in their favour are sufficiently instructive. The Xenokratic
character of the account of Telephanes comes out in the com-
parison instituted to Polykleitos, Myron, and Pythagoras, whose
names are given in the same order as in the verdicts ; since,

however, Xenokrates had not deemed Telephanes worthy of

comparison with the two greatest names — with either Pheidias,
the founder, or Lysippos the perfecter of the art — he had also not
accredited him with any distinct contribution to the progress of
statuary. Now the comparison of Telephanes to Polykleitos,
Myron, and Pythagoras on the one hand, and the absence of any
precise estimate of his merits on the other, were explained by some
later Greek writer in a rationalizing anecdotic manner, alien to
Xenokratic practice Telephanes was excellent, the reasoning
:

seems to be, or he could not be compared to great names, but he

must have been obscure or we should hear more about him ; and
as Xenokrates had given a list of works, some, or all, of which were
in Thessaly ', their remoteness
was made the reason for the artist's
want of fame quoniam in Thessalia habitaverit et ibi opera eius
:

latuerint. These additions are so nicely welded into the Xenokratic

account that they must have been made at a quite early date, as we
shall see by Antigonos (p. xxxvi). Puzzled by the mention of this
excellent yet unknown artist, the Roman authors next introduced
him under cover of their Greek authorities artifices qui haec :

condidere (i.e. Xenokrates and Antigonos) miris laudibus celebrant

' • The cessavit and revixit first ex- " A region to which
Xenokrates
plained by Brunn, K. G. i. p. 504 f. might easily have extended his re-
Cf H. L. Urlichs, Griechische Kunst- searches northwards from Phokis and
schriftsteller, p. 31 f. Boeotia.
 XENOKRATES OF SIKYON xxiii

Telephanem Phocaeum, and placed him outside the insignes, but

yet more distinguished place than the alphabetical lists.
in a
Practically the same happened in the case of Praxiteles (§§ 69-71).
This artist appears to have been only summarily discussed by
Xenokrates ^, who, like the rest of his school and Lysippos
himself, was exclusively a worker in bronze, and therefore only
wrote concerning works in bronze, entirely ignoring the marble
sculpture wherein lay the chief strength of Praxiteles and the new
Attic school. Yet Praxiteles was much too great a favourite of
the Romans for a Roman writer to be content with assigning to
him a place among the artists of the alphabetical lists, so he linked
him on to Telephanes with a quoque, adducing as an apology
for not placing Praxiteles among the insignes that he was marmore

felicior ideo et darior. The argument practically comes to

Praxiteles also, like Telephanes, has an excuse for the place
—
assigned to him in his case not want of fame, but the fact that
he is better known as a worker in marble than as a worker in
'\
bronze
An analysis of the first alphabeticallist (§§ 74-83) will reveal

further traces of Xenokrates. In the subjoined tables I have

marked with an X those artists the account of whom seems
Xenokratic, and placed within square brackets the names of
artists or works manifestly introduced from other sources.

X. Alcamenes: encrinomenos^.
X. Arisiides : quadrigae higaeque.
\_Amphicrates : Leaena, periegetic, see Comm. and p. Ixxxvi.]
X. Biyaxis: Aesculapius, Seleucus.
X. Boedas: adorans.
[Baton: Apollo, luno, Roman museography, cf. p. xci f.]
\Cresilas : volneratus, Pericles, both from epigrams, see Comm. and p. Ixix.]
[Cephisodotus : ara, on authority of Heliodoros, p. Ixxv.]
X. Canachus {Apollo, anecdotic, see Comm. and p. Ixxxviii] celeiizontes pueri.
:

X. Chaereas : Alexander, Philippus.

X. Ctesilaus: doryphorus, Amazon.
{Demetrius : Lysimache (inscrip., p. Ixxxvi), Minerva nius. (periegetic),

Simon (literary source, p. Ixv, note l).]

'
Miinzer, op. cit. p. 507, considers Oporan (where M. wrongly retains

the Xenokratic material to be some- canephoram).

what as follows: Praxiteles. ..fecit ^ I am indebted to Dr. H. L.
ex aere. . Proserpinae raptum
. . Uriichs for giving me what I believe

item catagusam, et Liherum patremet to be the correct explanation of the

Ebrietatem nobilemque una Satyrum,
qium Graeci periboeton cognominanl ' The list is based on that of Oeh-
item stephanusam, pseliumenen, michen, Plin. Studien, p. 163 f.
xxiv INTRODUCTION
X. Daedalus : desiringentes se.
X. Dittomenes : Protesilaus, Pythodemus.
X. Euphranor: [Alexander Paris {ep\gT. TpA:id^), Minerva, La/ena (Roma.n
Virtus et
museogr.)], quadrigae bigaeque, cliduchus. ^
Graecia; mulier adm. et ador.; Alex, et Philippus.
[Eufychides : Eurotas (epigr. p. Ixix f.).]
X. Hegias : Minerva, Pyrrhus, celetiaontes.
[ffagesias : Hercules in Pario colonia (Mucianus, p. xc).]

X. Isidotus : buthytes.
[Zycius ; puer sufflans (epigr. p. Ixx)], Argonautae.
ILeochares: Ganymedes (epigr. p. Ixx), Autolycus (literary source, p.
xlv, note i), Jupiter, Apollo (Rom. museogr.), Lyciscus
(epigr. p. Ixxiii, note z).]

X. Lycius : puer suffitor.

\Menaechmus : vitulus (epigr. p. Ixxiii, note 2).]
X. Naucydes : Mercurtus, discobolus, immolans arietem.
X. Naucerus : luctator anhelans.
{Niceralus : Aesculapius et Hygia (Roman museogr.).]
X. Pyromachus : quadriga cum Alcibiade.
X. Polycles : Hermaphroditus.
X. Pyrrhus : Hygia et Minerva.
X. Phanis : epithyusa.
[Styppax: splanchnoptes (periegetic and epigr. p. Ixx).]
[Silanion: Apollodorus, Achilles, epistates (epigr. p. Ixx).]
\Strongylion : Amazon (Roman anecdote, cf. p. xcii).]

[ Theodorus : se ipsefudit (anecdotic).]

\_Xetiocrates : copia signorum (Antigonos).]

Reference to the text of Pliny will show that the works of the
nineteen artists marked X are enumerated with a simple direct-

ness which contrasts as forcibly as possible with the literary

allusions, anecdotic tags, and epigrammatic descriptions attaching
to the notices of the names placed in brackets. This same
directness characterized the lists of works of the insignes, and
is a clear mark of Xenokratic authorship. Ten of these names,
moreover, still retain their place in the Xenokratic chronology
(Alcamenes, Aristides, Canachus, Daedalus, Dinomenes, Euphranor,
Hegias, Naucydes, Pyromachus, Polycles).
An attentive study shows how a second, a third, and perhaps
even a fourth hand worked over or added to the Xenokratic
material, sometimes to its suppression. Cephisodotus, Eutychides,
Leochares, all appear in the Xenokratic chronology, but, if any of

thfirworks were mentioned, these have been omitted to make

way for others which brought the added interest of anecdote or
epigram; in the case of Euphranor (§ 77) the mention of the
' Paris,' derived from an epigram, was
prefixed to the arid Xeno-
 XENOKRATES OF SIKYON xxv

kratic lists. This method of introducing new material from other

sources has led to the double mention of Lycius (§ 79) and of
Hegias (§ 78), the latter of whom appears the second time, under
the alternative form of his name, Hagesias. As
mention
to the
of Xenokrates himself (§ 83), it is probable that had come
if it

from him its wording would be at once more modest and less
vague. I therefore adopt Miinzer's suggestion (pp. cit. p. 509)
that it is due to the reverence ('Pietat') of the later writer, who
worked the Xenokratic treatise into his own, namely Antigonos.
A number of other additions, made from evident Roman sources,
or concerning works to be seen at Rome, in Varro's or Pliny's
day, need no comment here. In the same way certain additions
came to be made also to the chronology. The most obvious is
the notice of Seilanion (see p. xlix, note 2, and Add. to Comm. on
xxxiv, 51), who is tacked on to the artists of 01. 113.
The Plinian account of the bronze-workers from § 49 to § 83
represents roughly, then, the original compass of that portion of
the treatise of Xenokrates which treated of the period from the
great revival after the Persian wars down to the sons and pupils of
Lysippos, in Olympiads CXIII and CXXI. But it would be an
error to suppose that this history of statuary took no notice of
the earlier phases of the art. Through some accident which we
are now no
longer in a position to determine, the whole earlier
part seems however to have been suppressed, with the exception
of one unmistakable fragment, which oddly enough has found its
way to the beginning of Pliny's account of the sculptors in
marble (xxxvi, 9-10). The passage, as it now stands, is a little

mosaic of most diverse materials, but the original Xenokratic

conception is still evident from the stress laid upon the early
fame of the Sikyonian workshops, from the fact that Dipoinos
and Skyllis, the scene of whose labours lay chiefly in Sikyon and
adjacent or dependent regions, are chosen among all archaic
craftsmen to represent the beginnings of their art '. Their works
had been of wood (note on xxxvi, 10) and could thus fall within
the range of a writer upon bronze statuary, describing the gradual

evolution from wood or wood gilt to metal. To the Xenokratic

1 The Xenokratic kernel of the ing the view that Xenokrates left the
passage has been rightly detected by whole of the archaic period unnoticed
Miinzer [op. cit. p. 523), whom it is {ib. p. 505).
therefore surprising to find support-
xxvi INTRODUCTION
contention that the art of sculpture in bronze was elaborated by
Daidalid artists on the mainland of Greece, a later writer

presumably Antigonos (p. xliii f)— adjusted the account of the rise
of sculpture in marble in the islands of the Aegean, under the
auspices of Chian sculptors. Thus it was that the Xenokratic
account of Dipoinos and Skyllis came in time to be placed at the
opening of a history of sculpture in marble, where it has long
proved a crux to archaeologists '. We have learnt, then, that
Xenokrates, in treating of the began with
bronze-workers,
the earliest beginnings. The current notion that he took no
account of archaic bronze statuary is as false as it is arbitrary ''.

It is not improbable that, if the Xenokratic account of the

statuaries, as we have it in Pliny's thirty-fourth book, opens with
Pheidias, this is somehow due to a very ancient misunderstanding

of the statement that '

Pheidias first revealed the capabilities of
sculpture and indicated its methods." We shall immediately see
how a similar expression, in the case of the painter ApoUodoros,
misled both ancient and modern critics into the erroneous sup-
position that the Greek writers— Xenokrates in primis — had
ignored the early painters.
The Xenokratic history of the painters, preserved in Pliny's
thirty-fifth book, can be recovered far more completely than that
of the bronze-workers. Since in xxxv the alphabetical principle
does not make its appearance till § 138, where it is employed to
group together artists of comparatively minor importance, the
original scheme is, in parts at least, still suflSciently clear.
Xenokrates is quoted by name, along with Antigonos, as the
authority for the verdict upon Parrhasios (§ 68). The judgement
in its essence is so indubitably his, as a comparison with the
judgement passed upon Lysippos and his son Euthykrates (xxxiv,
66) proves, that if the later writer's name appears it can only

Miinzer, loc. cit. known to him. I take it rather that

' Cf. among others Robert, Arch. Xenokrates, having but very few dates
Mdrchen, pp. 36, 41, where the at his command (see Comm. on xxxiv,
post-dating of Kritios and Nesiotes grouped about Pheidias, as their
49),
(§ 49) is explained by supposing that representative, a number of other
the fame of their 'Tyrant-Slayers' artists who had been engaged upon the
would attract the attention of the restoration of Athenian monuments
compiler of the chronology, who, after the Persian sack. The anachron-
since he ignored the archaic period, ism at any rate affords no proof
made them into contemporaries of that Xenokrates had neglected the
Pheidias, the earliest bronze-worker archaic period.
 XENOKRATES OF SIKYON xxvii

be in his character of compiler, or '

editor,' of the Xenokratic
history.

(Lysippus) statnariae arti plurimum Parrhasius Ephesi natus et ipse

traditur contulisse capillum expri- multa contulit. primus symmetrian
mendo, capita minora faciendo qnam picturae dedit, primus argutias voltus,
antiqui, corpora graciliora siccioraque, elegantiam capilli, venustatem oris,
per quae proceritas signorum maior coufessione artificum in lineis extremis
videretur. non habet Latinum nomen palmam adeptus. haec est picturae
symmetria quam diligentissime custo- summa suptilitas. corpora enim
dit nova intactaque ratione quadratas pingere et media rerum est quidem
veternm staturas permutando, vulgo- magni operis sed in quo multi gloriam
que dicebat ab illis factos quales essent tulerint, extrema corporum facere et
homines, a se quales viderentur esse. desinentis picturae modum includere
propriae huius videntur esse argutiae rarum in successu aitis invenitur.
opemm custoditae in minimis quoque ambire enim se ipsa debet extremitas
rebus, filios et discipulos reliquit et sic desinere ut promittat alias pone
laudatos artifices Laippum, Boedan, se ostendatque etiam quae occultat.
sed ante omnes Euthrycraten, quam- banc ei gloriam concessere Antigonus
quam is constantiam potius imitatus et Xenocrates qui de pictura scripsere,
patrisquam elegantiam austero maluit praedicantes quoque, non solum con-
genere quam iucnndo placere. fitentes'.

But the criticism of Parrhasios is closely linked with a row of

similar criticisms, not only interconnected, but dictated by the
same spirit as the judgements passed upon the statuaries ^ Robert
has pointed out that identical standards were set up in each case,
while the final appreciations were similarly formulated ; as
Pheidias (xxxiv, 54) discloses the possibilities of statuary, so
ApoUodoros (xxxv, 60) discloses those of painting. The initiative

of either master was carried further in the one art by Polykleitos

(xxxiv, 56), by Zeuxis (xxxv, 64) in the other. Both these artists,

however, fail in the rendering of proportion, a point in which

Myron (xxxiv, 57) and Parrhasios (xxxv, 68) surpass them. The
former is symmetria diligentior than Polykleitos ; of the other it is

said that primus symmetrian picturae dedit. Pythagoras (xxxiv,

59) and Euphranor (xxxv, 128) each progress towards the
attainment of symmetry of the one the critics said irpHnov
j . . .

(TviifiiTpias SoKovvTa i(TT0)(atT6ai, of the Other primus videtur usur- . . .

' I have chosen these two passages ' Robert, Arch. March, p. 67 ff.,

for comparison, becanse of the marked conveniently prints the passages side
verbal similarities, but of course the by side. After the detailed analysis
real counterpart, among the painters, of the verdicts upon the bronze-
of Lysippos, among the statuaries, workers, it seems sufficient to refer

was Apelles. to the text.

 xxviii INTRODUCTION
passe symmeirian. The highest mastery, finally, is embodied in

Lysippos (xxxiv, 65) and in Apelles (xxxv, 79).

We may now proceed to recover traces of Xenokrates in the
earlier sections of xxxv. It has been noted above that the con-
tribution to symmetry, made respectively by Pythagoras and
Euphranor, was couched in almost identical terms. But the
statement that Pythagoras was the first to mark the sinews and
the muscles, primus nervos et venas expressit, recalls the improve-
ments attributed in an early part of the History of the Painters
to Kimon of Kleonai : articulis i}iembra distinxit, venas protulit

(§ 56) ^ That both are from the same hand is indubitable.

Again, the criticism of Kimon is inseparable from a whole
series of similar passages, in which the earlier stages of painting
were discussed. These began at § 16, and, after sundry excursus
on paintings in Rome and on colours (§ 18 ff.), were resumed
again at § 56. When exhibited together, the original coherence
of the passages is self-evident ^

§ 16. Inventam liniarem a Philocle Aegyptio vel Cleanthe Corinthio primi

exercuere Aridices Corinthius et Telephaiies Sicyonius, sine uUo etiamnum hi
colore, iam tamen spargentes linias iiitns. ideo et quos pingerent adscribere
institutum. primus invenit eas colore testae, ut ferunt, tiitae, Ecphantus
Corinthius.
§ 56. . . .eosqne qui monochromatis pinxerint, quorum aetas non traditur,
. . . fuisse, Hygiaenontem, Dinian, Charmadan et qui primus in pictura marem
a femina discreverit Eumarum Atheniensem figuras omnis imitari ausum, quique
inventa eius excoluerit Cimonem Cleonaeum. hie catagrapha invenit, hoc est
obliquas imagines, et varie formare voltus, respicientes suspicientesve vel despi-
cientes. articulis membra distinxit, venas protulit, praeterque in vestibus rugas
et sinus invenit.

§ S7- Panaenus quidem frater Phidiae etiam proelium Atheniensium adversus

Persas apud Marathona factum pinxit. adeo iam colorum usus increbruerat,
adeoque ars perfecta erat ut in eo proelio iconicos duces pinxisse tradatur,
Atheniensium Miltiaden, Callimachum, Cynaegirum, barbarorum Datim, Arta-
phernen.
§ 58. . . . Polygnotus Thasius qui primus mulieres tralucida veste pinxit,
capita earum mitris versicoloribus operuit
plurimumque picturae primus con-
tulit, siquidem instituit os adaperire, dentes ostendere,
voltum ab antiquo rigore
variare. [follows 7nention of a picture in Rome'\ hie Delphis aedem pinxit,
hie
et Athenis porticum quae Poecile vocatur cum partem eius Micon . . .
.

pingeret.

^
These primitives are represented as not yet sufficiently ad-

The parallelism of the two pas- » I here follow Munzer entirely

sages is noted— but in a different ("/"V. p. 514), who gives the passages
context—by Hartwig, Meisterschahn, freed, so far as possible, from
later
p. 165. additions.
 XENOKRATES OF SIKYON xxix

vanced to grapple with problems of harmony and symmetry it ;

is sufificient for them to attempt to conquer step by step, first

a knowledge of their materials, then by slow degrees the correct

presentment of objects. Philokles, Kleanthes, and the earliest
painters, are scarcely painters at all ; they practise mere outline.
Then Ekphantos fills up this outline with red colour. Hygiainon
and his fellows (§ 56) continue to use only one colour till it

occurs to Eumaros to distinguish in painting between the sexes

this he doubtless does by introducing white for the flesh of
the women and
^ thus marks the first stage in the progress from
monochrome to polychrome painting. So far, however^ figures
have only been drawn in full face or in profile (though Pliny
nowhere states this, it can be supplied from what follows) ; but now
Kimon of Kleonai invents foreshortening, Kardypaipa "- He further
correctly marks the articulations and the muscles, and '
discovers
the wrinkles and the windings of drapery.' Artists, having now
learnt to distinguish between the sexes, to articulate their figures,

and to present them in various attitudes, are able to turn their

attention to distinguishing between individuals. Panainos, accord-

ingly, in his Battle of Marathon, introduces portraiture. But
mere draughtsmanship — outline simply filled in with colour —was
susceptible of still further improvements. Thus Polygnotos of
Thasos first permits the draperies to reveal the bodies beneath
them, and shows at the same time how to give movement not
only to the body, as Kimon had done, but also to the face. Then,
the capacities of this limited technique being exhausted, there
appeared on the scenes the great painter Apollodoros (§ 90 above,
p. xxvii), who by discovering '
the fusion and management of
shade
''

— of light— first gave to objects their

we should rather say
real semblance {primus species instituit) thus he contributed to :

painting its most important factor, and thereby, as an epigrammatist

pointedly said, he '
opened the gates of art to the great masters '

of Greek painting — to Zeuxis and Parrhasios and their illustrious

contemporaries. The coherence of the whole history of the
development and perfection of painting the consistent logic —
which underlies it, of an evolution from the simpler to the more
complex — is so patent that it is incomprehensible how so many
' Eumaros's innovation is generally accurately grasped,

so explained, but I am not aware ^ See note on xxxv, 56.

that the significance of the introduc- * i^tvpoiv ipOopav ical &-ir6xp<^'riy

tion of this white colour has ever been (r«ios, Plutarch, De Glor. Athen. 2.
XXX INTRODUCTION
scholars — at least in the period between Jahn's Essay and
Miinzer's— entirely failed to apprehend it.

It remains, however, to ask how in face of this consecutive

Treatise by a Greek writer there could ever arise the complaint in
XXXV, 54 non constat sibi in hac parte (sc. historia pidorum)
:

Graecorum diligentia multas post olympiadas cekbrando pidores

quam statuarios ac toreutas, primumque olympiade LXXXX. The
question involves a difficult problem. One can only imagine that
the complaint, in its present form, is the result of a misunder-
standing ; it is some later writer, intermediate
not impossible that
between the earlier Greek art-writers and the Roman, had found
fault with the Greeks for failing to appreciate the naive charm and

simple methods of the painters who lived previous to the innova-

tions of Such a criticism, combined with the words
ApoUodoros.
used by Xenokrates of ApoUodoros, hie primus spedes instituit,
might lead in time to the supposition that the Greek art-writers
had completely failed even to mention pre-ApoUodorian painters.
The Roman compilers, drawing from books (Pasiteles ? p. Ixxix)
where the names of Xenokrates and Antigonos as authorities for
the history of the early painters had long dropped out, piled up
as proofs of the supposed inaccuracy of these writers ^ a number
of facts" for which their Treatises were in reality the chief sources.
Theophrastos, also, had been misrepresented in precisely the
same manner. According to Pliny (vii, 205) he had attributed
the invention of painting to Polygnotos, whereas Theophrastos
can have intended nothing more than that Polygnotos was the
first painter who could be properly so called ; writing doubtless

under the influence of Aristotle's admiration for the ethical quali-

tiesof this artist {Poet. 1450a). Theophrastos had assigned to him
the place which the PKnian authors, intent rather upon technical
progress, gave to ApoUodoros. In truth Pliny's statement as
regards Theophrastos, and his or Varro's complaint of the Greek
inaccuracy, are, I believe, but the distorted reflection of
the old
controversy whether draughtsmanship or colouring was the
more
powerful means of expression. The opinion of Aristotle may be
» It universally acknowledged
is Panainos as painters- (cf. p. li) ; the
that the Greeks alluded to in the whole list of painters and their works
words Graecorum diligentia are the from the early monochromatics
down
main authorities, i.e. Xenokrates and to Polygnotos. The account of Boul-
Antigonos (perhaps also Duris) cf. archos (§55) may have been derived
;
by
Robert, Arch. Mdrcken, p. 25. Varro (cf.p.Ixxxivand Comm. on xxxv
^ E.g. the activity of Pheidias and 55) from some independent source. '
 XENOKRATES OF SIKYON xxxi

guessed from his predilection for the pre-Apollodorian

Polygnotos ^. The testimony of Dionysios to the value which
a school of criticism, practically unrepresented in Pliny, attached
to the pre-Apollodorian paintings is of importance :

' In ancient paintings the scheme of colouring was simple and presented no
variety in the tones ; but the line was rendered with exquisite perfection, thus
lending to these early works a singular grace. This purity of draughtsmanship
was gradually lost ; its place was taken by a learned technique, by the differen-
tiation of light and shade, by the full resources of the rich colouring to which
the works of the later artists owe their strength ^'

We learn from this passage that the methods of the later

painters were practically looked upon as hostile to those of the
earlier, and Xenokrates, a hot partisan of the post-Apollodorians,
may well have expressed himself in language which would
eventually lead to the erroneous supposition that he had ignored
all earlier paintings, from Polygnotos and Panainos up to the
early monochromatics.
As we have it in Pliny, the argument against the Greeks is

presented with skill and vigour (Comm. on xxxv, 54) ; the theme
was evidently congenial to the Roman authors, who doubtless
felt for the archaic the enthusiasm — common to all decadent
periods — which was to rouse the subtle satire of Quinctilian '-

After § 70 it becomes more difficult to follow Xenokrates (cf.

Miinzer, op. cit. p. 516), and scarcely any sentence can be picked
out as bearing the indubitable signs of his method. Later writers,
as shown by the Plinian indices, had, when it came to the artists

^ Bertrand, £tudes sur la Peinture, rols i^iyimcnv ix"^""^ noMXiav, anpi^ets

p. 1 7, singularly misapprehends Aris- Sc rais ypa/j./jLais, Kal iroKh rd yapiiv

totle when he assumes that A. kv ravrais ixP^^°-^' °-^ ^^ pifT^iKeivas,

definitely stated his preference for eiypan/wi fiiv ^ttov, l^eipyaapihai Si
drawing over painting, and translates fidXXoVj aKia re Kai tpajrl iT0LKtW6fievatj
Poet. 1450b, 'en etalant les plus koX iv t£ TrX^flti tSiv pnyimraiv t^v
belles couleurs on ne fera pas le meme layyv ex""'''".
plaisir que par le simple trait d'une * Primi, quorum, quidem opera non
figure.' What A. says is that colours vetustatis modo gratia visenda sunt,
laid on confusedly or indiscriminately clari pictores fuisse dicuntur Poly-
will not produce as much pleasure as gnotus atque Aglaophon,
quorutn
simple outline A yap ris iva\e'u//tie
: simplex color tam sui studiosos adhuc
Tofs KaWiarois <papiiiicois x'^^Vi o"" habet, ut ilia props rudia ac velut

hv Spioias €i(ppa,v€tiv Kal \ivicoypaipriaas futurae mox artis primordia maxi-

tlic6va. mis, qui post eosexstiterunt, auctoribus
Dionys. Halik. de Isaeo iudic. 4
'^ praeferant, propria quodam intelli-

AaX U) TiKs apxo-iai ypa<pal, x/KuMaff' gendi, ut mea opinio fert, ambitu.
]j.\v (Xpyac jiivoi anKas, Kal ovSepiiav kv Quiuct. xii, 10.
xxxii INTRODUCTION
of the fourth century, a large mass of literature to draw from.
Moreover popular anecdotes concerning the painters now take in
great measure the place of more serious criticism.
The next clear trace of Xenokrates is in the special emphasis
(§ 76) upon the fame of the Sikyonian painters.
laid Sikyon,
the cradle of art-painting (§ 16), is now shown to be the home
also of its splendid maturity ; as she had produced Lysippos, the
greatest master of statuary, so she produces Apelles, the greatest
master of the rival art of painting, whose contributions to his art
are appraised (§ 79) according to
the canons applied to Lysippos
in xxxiv, 65. Though Apelles was probably already an artist of
established renown when he left his native Ephesos to study in
the schools of Sikyon, the claims of his obscurer early masters
must fade entirely before the glorious reputation of Eupompos
and Pamphilos.
The Theban-Attic school, which branched off from the
Sikyonian, with Aristeides I —brother-pupil of Eupompos —also
claimed the attention of Xenokrates. We must recognize with
Robert ^ that the account of Aristeides II in § 98 originates with
him; we note the Xenokratic intent to connect the name of
a great artist with some definite progress or contribution. In
this case the progress accomplished is of ethical rather than of
technical import; Aristeides discovers how to render not only
character but transient emotions^, and in this there is a vague
reminiscence of the criticism passed upon Myron, that he had
failed to express '
the sensations of the mind.'
Between the two Aristeides must naturally have intervened the
account of Nikomachos, son of Aristeides I, and his pupils,
which in Pliny appears in §§ 108-110, away from its original
context.
After a long digression in §§ 11 2-1 21, due, as we shall
see, in
part toVarro (p. Ixxxiv), in part to Pliny himself
(cf. p.xcii), we again
come upon clear traces of Xenokrates in the History of the Painters
in Encaustic '- In § 122 we find it stated first that, according to
certain authorities, Aristeides was the inventor of encaustic;

1 Archdologische Mdrchen, p. 69 ably due to Vnrro.

; It affords one of
cf; Munzer, p. 5T6. the many
proofs of the passage of the
i.e.ferturbationes: Fnrtwangler, Greek Treatises upon Art throu<rh
Phnius u. s. Quellen, p. 65 f., points
"
Varro's hands.
out that this Ciceronian translation of '
Miinzer, op. cit. p. Ki7ff
the Greek ird^Tj (see Comm.) is presum-
 XENOKRATES OF SIKYON xxxiii

immediately after it is asserted that there existed pictures in this

technique older than the time of Aristeides, namely those by
Polygnotos, by the Parians Nikanor and Mnasilaos, and by Ela-
sippos. In a word, the claims of the island-schools to priority
of invention are opposed to the claims of the artists of the main-
land, precisely as in xxxvi, 9-12 the Xenokratic contention that
statuary was invented by the Daidalids Dipoinos and Skyllis was
confronted by Antigonos with the assertion that long before their
time sculpture in marble had flourished in the islands of the
Aegean (p. xxvi) \ Thus it seems safe to conclude that the
tradition attaching the invention of Encaustic to the name of
Aristeides goes back to Xenokrates, and that Antigonos, faithful
to hisprogramme of exhibiting the various sources at his com-
mand, appended to it the account now represented in Pliny by
the words aliquanto vetustiores encaustae pidurae extitere . . . nisi
encaustica inventa.
The school partisanship of Xenokrates at once betrays itself in

§ 123 in the preeminence assigned to the Sikyonian Pausias, pupil

of the Sikyonian Pamphilos (§ 75), and accordingly brother-pupil
of Apelles. Pausias is not only praised as "Caz first to achieve fame

in the wax technique, but is also credited in true Xenokratic fashion

with two distinct contributions : he is Xhe^ first to paint the panels

of ceilings, the first also to decorate the vaults of roofs. It may

be noted at this point that the Plinian division into painters in the

ordinary tempera and painters in encaustic was probably no part

of the original Greek treatise. Pausias must have been discussed
in connexion with Pamphilos and the artists of § 75, while the
discussion of Euphranor must have followed upon that of his
master Aristeides I. That the pupils of Pausias, Aristolaos
(§ 137) and Nikophanes, had also originally been discussed by
'^

Xenokrates is almost certain but the criticism passed upon ;

Euphranor in § 130 is to my mind the last passage in the Plinian

narrative of the painters where Xenokratic authorship can be
pointed to with certainty. Students, however, will read with
interest Miinzer's attempts {^op. cit. p. 518) to disengage further
Xenokratic threads.

' The parallelism has been kindly Nikophanes in xxxv, iii, recalls the
pointed out to me by MUnzer in elegantia attributed to Lysippos,
a private letter ; see note 3 on p. xxxiv, 66, the elegantia in render-

xliv. ing of hair attributed to Parrhasios,

^ The epithet elegans applied to xxxv, 67.
xxxiv INTRODUCTION
Before dismissing the history of the painters we still have to note
a few scattered passages which afford proof that Xenokrates had
not only summed up but analyzed the problems which the great
artists in turn had set themselves to solve. The appreciation of
Parrhasios (xxxv, 67), with the appended analysis of his special
artistic achievement, contained in the words haec est pidurae

summa suptilitas . occultat, is a striking

. .
instance. That highest
and hardest aim of the painter to produce about his figures the
illusion of ambient space, of enveloping light and air, could not
be more vigorously or happily expressed than in the phrase :

corpora enim ptngere et media rerum est quidem magni operis sed in
quo multi gloriam tulerint, extrema corporum facere et desinentis
picturae modum includere rarum in successu artis invenitur.

Ambire enim se ipsa debet extremitas, et sic desinere ut promittat

alia post se ostendatque etiam quae occultat (see Comm.). Again we
can, I think, trace the hand of Xenokrates in xxxv, 29, in the
analysis of the various effects attempted by painting ; with subtle
understanding of artistic procedure it is told how painting after
shaking off its early monotony discovered first light and shade,
then the by the juxtaposition of colours ; finally,
effects attainable

how it discovered glow and the passage from the more lit-up to
the less lit-up parts of a picture, in a word what the moderns call
'
values (see Comm.)
'
Such observations had doubtless formed
part of the history of the development of painting from the early
monochromatics to the successors of ApoUodoros, and became
detached from their original context, perhaps at the time when
the Xenokratic Treatise was schematized as noted on p. xxii.
Furthermore it is possible that the Treatise had originally included,
besides statements of the personal contribution made to the pro-
gress of art by the principal artists, and aesthetic analysis of special
problems, a discussion of the materials employed. Perhaps there-
fore we should follow Mlinzer (pp. cit. p. 512; p.
499 ff.) in
crediting Xenokrates with the chapters on colours (xxxv, 29 ff.)^ and
consequently also with the notice of the various kinds of bronze
(xxxiv, 9 ff.) employed by the statuaries.
The short account of modelling^ in clay in xxxv, 151-153, con-

' After considerable hesitation, we and actual works of art.

decided on omitting these chapters " MUnzer,
op. cit. p. 509 f. ; cf.
from the present edition, which is Furtwangler, Plinius u. o. Quellen,
concerned only with those portions p. 59 f.

of the Historia that treat of artists

 XENOKRATES OF SIKYON xxxv

tains the last marked traces of Xenokrates that we come across

in Pliny. Boutades, a potter {figulus), and of course a Sikyonian,
invents the fashioning of portraits in clay {fingere ex argilla
similitudines). To this statement is now attached from another
source an anecdote which represented this Sikyonian workman
as active in Corinth (p. xxxvii). In § 152 a variant version of
the discovery of modelling is given. Then with the words
Butadis inventum we get back to our Sikyonian potter, who,
having learnt to fashion a face in clay, is now the first {primus)
to adapt faces to tile ends, whence arose in time the whole
decoration of the eaves of temples. Further, he invents {invenit)
how to take moulds off the clay models for statues [de signis
effigies exprimere), and is thus the discoverer of the preliminary
indispensable process of casting statues in bronze. Hundreds
of years later another Sikyonian, Lysistratos, the brother of Xeno-
krates's special hero Lysippos, first discovers {primus . . . instituif)
how to take a mould off the living face. Hence the last and
crowning progress of art, the advent of realistic portraiture.
Miinzer is certainly right in his conjecture that the account of
modelling was originally prefixed to the history of bronze-statuary,
since bronze-casting presupposed the clay model (see Comm. on
xxxiv, 35, and xxxv, 153), and therefore modelling passed as the
older art :
etenim prior quam statuaria fuii {y.^-id\, 2,^)- The place
which Pliny assigns to modelling in his History is an obvious
necessity of his scheme; clay being the material of modelling,
he is forced to bring the discussion of this art under '
kinds of
earth.'

This closes the list of passages that can be traced back with
any certainty to Xenokrates. It is a proof of the vigour of his
conceptions that they could so impose themselves upon subsequent
writers as never entirely to lose their original character, which
still asserts itself throughout the whole of the Plinian account
of the bronze statuaries and the painters. Nowhere do we grasp
so readily what Pliny's history of art owed to Xenokrates as in the
account of sculpture, given in Bk. xxxvi, where, failing the strong

thread which bound together — at least in considerable parts

the narrative of the preceding books, we get little more than
a loose patch-work of facts brought together without guiding
thought or dominating interest. Meagre as are the fragments

that we have disengaged, they point back to a critic of other

calibre than the mere maker of anecdote and epigram — to

c a
xxxvi INTRODUCTION
a who, conscientiously endeavouring to judge of works of
critic

art on their own merits, fails, not from

garrulous digression or

the desire to make a witty point, but rather from preconceived

theory and love of schematizing. Xenokrates allows nothing

for the fantastic freaks of artistic growth; in his rigidly con-

structed system monochrome is made to precede colour, artists

may not attack the problems of drapery till they have solved
the rendering of muscle, and the gracious advent of perfect
harmony and proportion is presented as the inevitable sum
to which each of had contributed his measured
five artists

share. Besides, in common with most artists who have also

been art-critics, he insists upon fixing the measure of artistic
achievement in the successful solution of the problems which
chiefly interested the school of which he showed himself the
jealous partisan. Yet, crude as the scheme must appear to
our modern world with its deeper sense of the complexity of

things, it should win respect and sympathy as a first genuine

attempt to tell the still unfinished tale of the rise and growth

of art. even to be traced, at a distance great

And there is

enough from the modern method of comparison, that same

purpose which distinguishes the modern critic— to let the actual

monuments tell the tale.

§ 2. Antigonos of Karystos {born about 295 b. c).

When a writer aims, like Xenokrates, at formulating his criticism

of an artist as the unbiassed impression received from a series of
that artist's works, he will be anxious not to impair the strength
of this impression by digressive criticism of single works ; above

all, he will jealously guard the integrity of his judgement against

anything that might look like borrowed appreciation. A writer

who appraises an artist in the words applied by Xenokrates to

Polykleitos will be the last to introduce material so foreign to
the final judgement as that which describes how the boy binding
a fillet about his head was '
a boy yet a man,' or his companion
athlete '
a man yet a boy '
— words written, moreover, with a
view to rhetorical antithesis rather than to criticism of artistic

qualities.

Yet little epigrammatic or anecdotic tags are plentiful even in

those parts of the Phnian account which have been shown to be
essentially Xenokratic. Such, for instance, are the legends inter-
 ANTIGONOS OF KARYSTOS xxxvli

woven in xxxv, 9 with the account of the early Sikyonian artists

Dipoinos and Skyllis (see Comm.); the rationalizing statements in
xxxv, 16 and 151, intended to reconcile the conflicting claims to
greater antiquity of the art centres of Sikyon and Corinth ; the
additions made
59 to the Xenokratic account of Poly-
in xxxv,
gnotos and Mikon, to the effect that the former took no payment
for his paintings in the Stoa Poikile, while the latter did; the
anecdotic flavour given to the account of Telephanes of Phokaia
(xxxiv, 68), the epigrammatic touch added in xxxv, 61 to express
the connexion between Apollodoros and Zeuxis. These additions
are generally so closely compacted with the original fabric that
it is only recent criticism, the growing recognition of the whole
tendency of the Xenokratic methods, which has detected them as
extraneous. They differ totally, in this respect, from the loose
and not unfrequently awkward additions to the Greek Treatises
made at a later date by Varro or Pliny himself in order to
introduce the mention of works in Rome or allusions to contem-
porary events.
It becomes evident that the Xenokratic treatise was minutely

worked over by a writer, who used it not simply to quote from,

but as a solid framework into which to fit new material of his
own. This writer, who appears almost as close collaborator of
Xenokrates, must be one of the writers included in xxxiv, 68 in
the words Artifices qui compositis voluminibus condidere haec, where
the haec refers (see p. xxii) to the previous account of the insignes,
which, as we have seen, is Xenokratic in the main. Now in xxxv,
67, in the discussion of Parrhasios, writers upon art are referred

to in similar manner : confessione artificum in liniis extremis

palmam adeptus {Farrhasius). Immediately below, the names of
these artifices are given ; the one is, as we expected, Xenocrates,
the other is Antigonus.
Antigonos is no longer a mere name. The brilliant essay in
which Wilamowitz proved his identity with the Antigonos of
Karystos author of a book of Marvels or 'laropiav irapaS6^a>v
',

' V. Wilamowitz-Moellendorff, An- his review of Wilamowitz's book,

tigonosvon Karystos, in Philologische Deutsche Lit.-Zeitung, 1882, p. 604
Untersuchungen, iv, Berlin, 1881 {cf. sisoY o\^, DeFontibus Plinianis

see Susemihl, Geschichte der Griechi- p. 24), and disputed by H. L. Urlichs,

schen Literatur in der Alexandriner Griechische Kunstschriftsteller, p. 34.
Zeit, i. p. sigff. I consider it super- Since then it has been accepted with-
fluous to discuss the question of iden- out reserve by Susemihl, and quite
tity. It was questioned by Diels in lately by Miinzer, of. cit. p. 52T ff.
xxxviii INTRODUCTION
mivayayft, and of certain Biographies of the Philosophers, from which
Diogenes Laertios drew extensively has made almost familiar ',

the who was likewise pupil of the philosopher Menedemos

artist

of Eretria, who contributed to the revival of Attic sculpture

under Attalos and Eumenes of Pergamon, and was at the same
time a versatile litterateur, equally at home in the poems of
Euripides or Philoxenos and in the technical treatises of the
painters. Scarcely a strong individuality, perhaps, but a highly
finished type of his age in its wide culture and many-sided
curiosities. In addition to the passages already referred to (xxxiv,
68 ; XXXV, 66-68), Antigonos is quoted by Pliny in the Indices of

Books xxxiii and xxxiv as a writer de toreutice, and in xxxiv, 84

as one of the sculptors in the service of the Court of Pergamon.
Diogenes mentions the sculptors Anaxagoras (ii, 45) and
Demokritos (ix, 49) on his authority, and recounts (vii, 7, 187) of
a namesake of the philosopher Chrysippos, the physician
Chrysippos of Knidos, that he had invented concerning Zeus and
Hera certain intolerable obscenities not described by the writers
upon painting they are found neither in Polemon, nor in
:
'

Xenokrates, nor yet in Antigonos ".'

It further appears from the two following passages that, in his

Lives of the Philosophers, Antigonos had allusions to the history
and literature of art

Diogenes ix, 11, 62 Antigonos of Karystos says in his account of Pyrrhon

:

that he began life in obscurity and poverty, and was at first a painter, and that
—
a picture by him of very moderate execution representing torch-bearers, —
is in the Gymnasium of Elis '.

Diogenes iv, 3, 4 On the whole he (Polemon) was the sort of man described
;

by Melanthios in his Book upon Painting, who says that a certain self-reliance
and austerity should make itself felt in portraiture, precisely as in character '.

' The fragments of Diogenes re- on tip, ipx^v aSofos t ^v koX irivr/s
ferable to Antigonos will be found koI aii\faem r
^aripi.<por airov iv
conveniently put together by Wilamo- 'BXiSi iv t& yvpvaaiai XapL^naSiaTois
witz, op. cit. nfTfiws fxovTa^.
" Diog. vii, 7, 187: oiS\ napA roh ' Kai g^ais ^jv toiovtos oUv (p^ffi
irepl mva/aav yp&ipaai Karaicexwpia- Me\<ii/flios i (aypiipos iv tois wepi
lilvriv (sc. historiamy piin yip irapA ^aiypa^MTir <f>r,(Tl yap Setv aieddciav
lioXipavi p.i]Ti mpa BfvoKp&rei (Wi- nva xai aK\rip6r7,ra tot's ipyots im-
h.m. op. at. p. 8; K6pke,De AKdgoMo rplx^iv, dpolais Si xai (so Wilam.
Caig/stio, p. 25 note; the MSS. have p. 64; the MSS. have Si k&v) toTs
mp "t^l/mpara), aWi. p.riSi mp' 'Avti- ^S(atv. I am not able to apprehend
yovif) thai. the precise meaning which the words
' 'AvTiyovos 8e <pij<Tiv 6 Kapianos opoiws . . . TJOiaiv are intended to
Iv tS tiipt nippavos riSe ^(pl avrov, convey. The sense of the rest of the
 ANTIGONOS OF KARYSTOS xxxix

Lastly, the learned traveller and antiquary, Polemon of Ilion

(contemporary of Ptolemaios V. Epiphanes, 202-131 B.C.), who
wrote against Antigonos a controversial work in at least six
books \ gives, in order to combat it, a verbatim quotation from
Antigonos. The Polemonic fragment, which is of incomparable
interest as affording an insight into the methods of these
ancient controversialists, has found its way into the collection of
Proverbs of the sophist Zenobios (age of Hadrian) ; it runs as
follows :

Zen. V. 82 At Rhamnous is an image of Nemesis ten cubits high, made

:

wholly of marble, the work of Pheidias, holding an apple branch in her hand.
From this branch, according to Antigonos of Karystos, hangs a little tablet
bearing the inscription Agorakritos the Parian made me.
' But this is no '

proof (ou Bavjiaarhv Sc), for many also have inscribed another's name upon their
own works, a complacency which Pheidias probably showed to Agorakritos,
whom he loved . .
."

These accredited fragments prove the varied experience of

Antigonos in the province of art-history we find him appealing :

to the testimony of inscriptions as carefully as his rival Polemon,

whose industry in this respect won for him the nickname of

o o-ri/XoKOTTaf ' ; he is ready to apply a phrase in a Treatise upon

Portraiture to his characterization of a philosopher ; he had him-

self written a statistical book upon pictures, containing minute

descriptions of their subjects ' nor had he neglected to note the ;

apocryphal tale which connected a certain mediocre picture at

Elis with the name of the philosopher Pyrrhon.

The miscellaneous character of his information, and the

passage is finely indicated by Wilamo- Kciiiaews 'iSpvrm afaKua Se/ca-ntixv,

witz, p. 147 ; cf. also H. L. Urlichs, epyov iaSiov, cx«' Si kv rfj

6\6\i.6ov,

Griech. Kunstschrift. p. 18 ff. X"P^ ^tjXms k\6Sov. If o5 (p^aiv 'AvtC-

^ The work bore the title vfhi -yovos 6 Kaptio-Tios vrvxiiv ti luicpbv

^k&aiov KOI 'Avnyovov; of Adaios of ilripTij<reaiT^veTnypatl)fiviX'>''"'f^1/opa-

Mitylene, who appears to have written xpno^ liapios k-nohjatv." oi BavimaTov

upon sculptors, Tripl dyaXimTonoiSiv S4- ical yAp iroWoi inl tSiv
aKKoi
(Athenaios, xiii, 606 a), very little is oUiUav Ipyav irfpov knyeypd(paaiv
known, cf. Susemihl, i^S. «V. i, p. 518; oyo/to- i'mbs oZv ml tov ^eiBiav tS

forPolemon, seeSusemihlji, p. 665ff. 'AyopaicpiTai avy«ex<^priicevai, ^v yd.p

for the fragments of his treatise against airov ipii/ifvos, koX dWas iirTS-qTo irepl

Antigonos, Preller, PoUmonis ferie- T-A-ncuSiKi. It was first conjectured by

getae/ragmenta,Leipzig,iSiS,-p. 97ff.; Wilamowitz, 0/. cit. p. 13 f., that the

MuUer, P. H. G. iii, p. 132, fr. 56-69 whole passage goes back to Polemon
for the nature of the controversy, see the view has been accepted without
especially H. L. Urlichs, op. cit. reserve by H. L. Urlichs loc. cit.

p_ 33 ff.
' Herodikos, af. Athen. vi, 234 d.

2 'Faiivovaia Neneais : iv "PanvovvTt ' Cf. Wilamowitz, op. cit. p. 8.

xl INTRODUCTION
varying trustworthiness of the quarters whence he obtained it,

prove at once that Antigonos, unhke Xenokrates, belonged to the

class of people who are curious of facts rather than critical of
their significance.
Xenokrates had been guided in his selection of material by
a strongly marked principle, whence the comparative ease in
recovering and closing up the dissevered members of his treatise.
The treatise of Antigonos on the other hand, with its looser
method of synthesis, is more difficult to retrace. We cannot
point to this or that fragment of the Plinian history as bearing his
individual stamp. But we can distinguish certain elements in

Pliny which go back to those general sources— art-historical,

epigrammatic, anecdotic, &c. —
whence we know Antigonos to
have drawn, and, on examining these, we shall find the majority
of cases to afford such strong proof of his handling that, failing
contrary evidence, it will not be unfair to assume the remainder
also to have come into Pliny through his medium.
From the fact that Antigonos incorporated the Treatise of Xeno-
krates into his own work, and from his allusion in his life of
Polemon upon Portraiture by the
(above, p. xxxviii) to a Treatise
pamter Melanthios, we may infer that it was he who introduced
references to a number of artists as having also written upon their
art. These are the bronze-worker Menaichmos (xxxiv, Index
and § 80)', the painter Apelles (xxxv, Ind. and § 79, § in),
Melanthios, AsklepiodorosandParrhasios {ib. Ind.),andEuphranor
{ib. Ind. and § 128). Apelles as a writer upon art is fortunately
more than a mere name. One trace of the work or works in
—
which he expounded presumably for the use of his pupils (cf.
xxxv, § in) — the theories of his art has survived, as Robert
justly points out', in § 107 in the words Asdepiodorus, quern in
symmetria mirabatur Apelles, which at the close of § 80 had been
rendered by Asdepiodoro de mensuris {cedebat Ap.). If the con-
jecture be correct for Asklepiodoros it follows that Apelles's
appreciation of Melanthios in the grouping of figures was also
expressed in the same work. There, likewise, it must have been
that he discussed the art of Protogenes (§ 80) and criticized his
laborious finish. In fact, from the words quorum opera cum admi-
raretih- omnibus conlaudatis, it is fair to assume that besides
original theories the Apellian treatise contained criticisms —for the
^ He is otherwise unknown either p. 520, note i ; cf. Susemihl, i, p. 113,
as artist or writer; see Miinzer, op. cit. note 2. '^
Arch. Mdrchen, p. 70.
 ANTIGONOS OF KARYSTOS xli

most part favourable — of contemporary artists '. The statement

as to his own quod nianum de tabula scirei tollere,
venustas, like the
is the later concrete expression, practically thrown into proverbial

formula, of the aims and theories expounded by Apelles as

being those of himself and his school.
Antigonos, too, may be responsible for a few more Plinian
passages which are faintly coloured by reminiscences of other
technical treatises by artists, though these are not definitely
alluded to. I have already indicated in the notes that in the
words solusque hominum artem ipsam fecisse artis qpere {Polyclitus)
iudicatur in xxxiv, 55, there appears to lurk an allusion to the
book, the KaKcov ^, in which, as we learn more fully from Galenos,

Polykleitos had laid down his theories on the proportions of the

human body ' ; we have accordingly translated the passage he is '

the only man who is held to have embodied his theory of art in
a work of art,' the work being the famous Spear-Bearer, which is
here introduced, quite irrespectively of its first mention in § 55,
as a separate work under its alternative name of the Canon '.

' Schubert, FleckeiserCs Jahrbb., Ten Orators, Isokrates, ii, p. 838 ( =

Supplementband ix, p. 716, detects Bernardakis, v, p. 164), flat S' ot xal
a reference to the work of Apelles in Te-^yas avrhv (sc. Isocr.') \eyovaiavyye-
Pint. Dem. 22
'AweWris
icai iprjaiv 6 ypcupivai. At a later period Jahn
ovTus eKTr\ay^vai Oeaffd/ievos rb epyov abandoned his earlier opinion and
cuffTC Kot <paiv-^v kKXiTTiLv avT6v. dipk saw a latent epigram in the words
S^ fiireiVj fieya^ 5 novos /fat Oavfiaffrdv solus hominum . . . iudicatur i^Kunst-
TO epyov, oil ^iijv ex^tv x*ipiTas, St' as urtheile, p. 120); he is followed by
ovpavov if/aiuetu ra vtt avrov ypatpS/ifva^ MUnzer, op. cit. 530, note i.

^ The passage was first so explained ' The few extant fragments of this

by Otto Jahn, Jihein. Mus. ix, 1854, incomparably interesting work, in

P' 3'5 f- ('Das Kunstwerk war ein which Polykleitos reveals himself as
Inbegriff der Regeln der Sj'mmetrie, an ancient Leonardo or Albrecht
ein Compendinm derselben'), who DUrer, have been carefully collected
argued that here ars = the theories and commented on by H. L. Urlichs,
of 11 compendium of the rules of
art, Griechiscke Kunstschriftsteller, p. i ff.

art,by extension of the meaning See also Diels, in Arch. Anz., 1889,
common in the rhetors and gram- p. 10.
marians ; Cic. Brut. 1 2, 46 Aristoteles * It is quite possible that Antigonos,
ait artem et praecepta Siculos Cor-
. . . who had added to the Xenokratic
acem et Tisiam conscripsisse. 12, 48, mention of Doryphoros and Dia-
similiter Isocratem . . . orationes aliis dumenos the epigrammatic description
destitisse scribere, totumque se ad artis which placed the two statues in
componendas transtulisse. Cf. Quinct. pointed relation to one another
X. I, 15 (where see Spalding's note); (above, p. xxxvi), now introduced from
Servius on Aen. vii, 787, legitur in his acquaintance with the literature
arte. The Greek t^x"^ ^^s commonly of art a second account of the statue
used in the same manner, Life of in its relation, not to the other works
xlii- INTRODUCTION
If the proposed interpretation of the words artem ipsamfecisse
artis opere iudicatur be correct, it follows that we have traces in

XXXV, 74 of another such compendium of art by the painter

Timanthes : pinxit et heroa absolufissimi operis artem ipsam com-

plexus viros pingendi ; i. e., like the Doryphoros of Polykleitos, the
'
hero '
of Timanthes was to serve as a Canon,' as the embodi-
'

ment had been expounded in an ars or re'x"";.

of theories which
Finally in § 76 it is said of Pamphilos that he was especially
learned in arithmetic and geometry, without which sciences, he
^
used to declare, art could make no progress. H. L. Urlichs
has pointed out that these words are distinguished from the
ordinary floating apothegm by a precise character such as we
should expect from an opinion recorded in a written Treatise ;
and indeed an opinion emanating doubtless from the whole artistic
personality of Pamphilos could nowhere have been preserved
intact so well as in a technical treatise, written, like the work of
Apelles, for the guidance of his pupils.
The Zenobian showed that Antigonos had maintained
gloss
the Agorakritan authorship of the Nemesis at Rhamnous on the
—
ground of the inscription, an argument against which Polemon,
supporting the current attribution to pheidias, retorts that Phei-
diashad doubtless permitted his own work to be inscribed with
the name
of the pupil he loved. Now, since Pliny ascribed the
Nemesis quite simply to Agorakritos, without any reference to
its attribution to Pheidias by other authorities, or to the Pole-

monic compromise, there can be little doubt that his ultimate

source was Antigonos. Pliny gives the statement, however, in
close connexion with the story of a competition between Agora-

of the master, bnt to his theories. effectedby the Greek authors. It is

This second mention, made with no possible, of course, though scarcely
precise reference to the first, was after- probable, that a Greek writer had
wards understood by the Roman an- already been guilty of assuming the
thors to concern a distinct work. In canon and doryphorus to be separate
the commentary I have given Furt- works.
wangler's explanation that the Canon ^ Op. cit. p. 1 4 ff., where it is shown
appears in Pliny as a separate work that the Pamphilos who wrote a work
to the doryphorus, owing to the intro- TUfii ypa<piicijs xal iarfp&<pav (vS6(av
duction of a fresh authority at the isa distinct person to the painter,
words /((ii et quern. I would differ and is presumably identical with the
only in so far that, while F. supposes Alexandrian grammarian, first century
Pliny to have been the first to combine B. c. see Urlichs, Rhein. Mas. xvi,
;

the two notices, my own opinion is 1861, pp. 247-258, and Susemihl, i,

that the combination was already p. 903 f.

 ANTIGONOS OF KARYSTOS xliii

and Alkamenes, and this again

kritos follows in natural sequence
upon the mention of these artists in their common relation,
as pupils, to Pheidias. The various episodes are so indis-
solubly linked^ that the passage as a whole must be referred
to Antigonos. Indeed, that he is Pliny's ultimate authority for
the information concerning Agorakritos is confirmed by the
closing attribution (§ i8, s.f.) to Agorakritos of the 'Mother of
the Gods ' at Athens : another vindication for that artist — doubt-
less, this timeon the evidence of the inscription of a work
also, —
popularly ascribed to 'P]:\Q\6.ias{Schriffgu. 83 1-833), of which popular
ascription Polemon, whose version is represented in Pausanias,
would not be slow to avail himself. It is noteworthy that by
retailing, though quite generally and in no relation to any one
work, the scandal about Pheidias and Agorakritos {eiusdem — sc.

Phidiae — discipulus fuit Ag. Parius et aetate grains, Hague e suis

operibus pkraque nomini eius donasse fertur) Antigonos may have

supplied to Polemon, as Miinzer acutely suggests (pp. cit. p. 522),
the weapon wherewith to combat the Agorakritan authorship of
the Nemesis ^-
We have seen how the Xenokratic accounts of the beginning
of painting in encaustic (xxxv, 121; see above, p. xxxii) and of the
beginning of statuary (xxxvij 9 above, p. xxv f.) were combined
;

by a later writer, surmised to be Antigonos, with variant tradi-

tions that proclaimed the priority of invention of the island-schools
over the schools of the mainland. The theory that these combi-
nations or contrasts of traditions were effected at an early date
by Antigonos is now confirmed by the fact that in both cases
appeal is made to the testimony of inscriptions in xxxv,
121;
the iveKQcv in an quoted in proof of the
artist's signature is

antiquity of encaustic, while in xxxvi, 11- 13, the genealogy of

the Chian sculptors '
Melas,' Mikkiades, and Archermos, and the
' See on this point Fnrtwangler, me, since I wrote the above, that
Plinius u. s. Quellen, p. 72, who how- Antigonos drew from Duris the main
ever does not trace the passage further part, if not the whole, of his account of
back than Vano. That Varro was Alkamenes and Agorakritos the stress
:

the intermediary source is obvious laid upon relations of pupilship,

bam.ih&^o'cA'i quod M. Varro otnni' the supposed competition (p. Ixiv),

bus signis praetulit ; to the account of the hint thrown out of a scandalous
the Nemesis which he found in his story (see below, p. Ix) —above all,

handbook he appended, according to the imaginative element in the tale

the wont of travellers, remarks of his of how the discomfited Agorakritos
own. turned his Aphrodite into a Nemesis
' The impression has grown upon are so many Duridian traits. Addenda.
xliv INTkODUCTION
mention of works by Boupalos and Athenis, sons of Archermos ',
at Delos, and of works by Archermos at both Delos and Lesbos,
are all based upon inscriptional evidence^ (Miinzer, o/.aV.p. 524 f.).
Further, as Miinzer indicates {loc. at.), Antigonos went so far in

the latter instance as to quarrel with his sources; he corrected

the legend according to which Hipponax had driven Boupalos
and Athenis to hang themselves in despair ' by adducing proofs

' The genealogy of Boupalos and gonos borrowed from Duris of Samos
Athenis is mentioned only once again the genealogy of the Chian sculptors
in literature —in the Scholia to Ar. and the whole story of Hipponax
Birds, 574 ; "Apx^pfiov (MSB." Apxcv- especially Duridian is the adjustment
vov) yap <pa<TL, t6v ^oviraXov koX to a new set of personages of the story
'AOrjviSos irarepa, ol 5k 'AyKao^uivra of Archilochos and Lycambes (see
t6v ®6.(riov ^ayypcKpov, ttttiv^v epy&- Comm.). I am glad to receive on this
aaaBai ttjv NiKrjVj d^s of nepi Kapvoriov point confirmation from Miinzer, who
rbv Hepyai^rjvov (paffi. There is much (in a private letter) explains Antigonos
to commend Miinzer's suggestion {/oc. as having corrected Duris somewhat
cii.) that Karystios of Pergamon (end as follows :
'
Chians
It is true that the
of second century, MUller, Fragm. were already practising the art of
Hist. Graec. iv, p. 356) appears here sculpture (i.e. at the time when,
by confusion for our Karystian Anti- according to the Xenokratic theory,
gonos, sometime resident in Perga- the Daidalids were inventing sta-
mon. (The words oXZ\ .. (ojypa<pov . tuary), but it is not true that the
are in any case introduced from a verses of Hipponax
(as probably
source other than that cited for B. maintained by Duris) drove Boupalos
and A.) We
should thus obtain im- and Athenis to death, for works by
portant confirmation of Antigonos's these artists exist which were created
authorship of the Plinian passage. after the portrait of the poet, as, for
^ The Zenobian gloss alone shows example, the Delian statue bearing
that Susemihl 672) does Anti-
(i, p. noK vitibus tantum,
the inscription
gonos an injustice when he credits &e.' Moreover, in another note, the
Polemon with the ' epoch-making gist of which he also allows me
idea of basing researches in the pro- to publish, Miinzer obsei-ves that
vince of art-history and periegesis Antigonos seems likewise to have
upon a study of inscriptions. In this borrowed from Duris that notice of
connexion we may recall as illus- the existence of paintings in encaustic
trative of the method employed by older than Aristeides which he con-
Antigonos, without on that account fronted with the Xenocratic account
proposing to refer them definitely to 'The appeal to the signature of the
him, the notices, derived from the in- otherwise totally unknown Elasippos
scriptionson their bases, of the group of would be characteristic of Duris (cf.
Alkibiades and ' Demarate ' of Niker- below, p. liii). Equally unknown
atos (xxxiv, 89), and of the trainer of are Nikanor and Mnasilaos, and it is
athletes by Apollodoros («'^.
89) ; for not clear whether the ethnic Fariorum
the poftrait statue of Lysimache by applies also to Polygnotos, and
Demetrius (zff. 76), see below, p. Ixxvi. whether this Polygnotos should ac-
^ Repeated study of the passage cordingly be distinguished from the
xxxvi, 11-13, convinces me that Anti- celebrated Thasian artist.' In the
 ANTIGONOS OF KARYSTOS xlv

to the contrary, again borrowed from inscriptions quod fahuin :

est,complura enim in finiiimis insulis simulacra posiea fecere sicut

tn Delo quibus subiecerunt carmen non vitibus tantum censeri Chion
sed et operibus Archer 7ni filiorum.
It is reasonable to suppose that Antigonos, who diligently
studied the inscriptions carved on the actual monuments, did
not neglect so fruitful a source as the literary epigram. He is

almost certainly to be credited, as we have seen (p. xxxvi), with the

epigrammatic qualification attached to the Xenokratic mention
of the Diadumenos and the Doryphoros of Polykleitos, while
the ascertained fragments of his writings display a wide-ranging
familiarity, not only with the greater poets, but also with the
poetasters and epigrammatists of his day ^ Since, however, the
actual extent of his responsibility for the epigrammatic element
in Pliny cannot be precisely determined, it will be best to reserve
for separate consideration (p. Ixviii) material which plays a con-
siderable part in the Plinian descriptions of works of art.

The Lives of the Philosophers reveal Antigonos as a lover

of personal anecdote and characteristic bans mots ^- Hence
we are naturally disposed to credit him with the anecdotic
material which forms so large a bulk of the Plinian narrative,
and, as a fact, there are frequent proofs of its passage through his
hands. The preservation, however, in the case of one highly
distinctive anecdote, of the name of Duris of Samos (xxxiv, 6i)
enables us to penetrate further — to the very source whence
Antigonos drew the larger part of his anecdotes '-

text I have adopted the reading stress on the learning of Antigonos,

Mnasilai as beyond dispute, but in searching for traces of his art-
MUnzer provides me with a satis- treatise in he accordingly in-
Pliny ;

factory proof that the Arcesilai of clines to trace back to him certain
the inferior codices is impossible; passages which evince literary interest
were this reading correct, we should c. g. the allusions to the 'Banquet
expect to find that Antigonos in his of Xenophon (xxxiv, 79) and to his
biography of the Akademic Arke- Treatise on Horsemanship (ib. 76).
silaos had mentioned this namesake See on this point Wilamowitz,
''

of the philosopher (Antig. Kar. ap. Antigonos, p. 33.

Diog. Laert. iv,
45 ; cf. Wilamowitz, ' That Antigonos drew from Duris
p. 70 ff.) ; but he only notes the for his Treatise upon art, and was
sculptor Arkesilaos of Paros on the thus the ' first intermediary ' through
evidence of an epigram of Semonides. which Duridian material found its

' Miinzer, of. cit. p. 529. Miinzer, way into Pliny, was first suggested
I may note here, lays considerable by Susemihl, i, note 325, p. 58S.
 xlvi INTRODUCTION

3. Duris of Samos {born about 340 b. c.) / the anecdotic

element in Pliny.

Duris, historian and tyrant of Samos, is one of the most striking

figures among those older Greek writers whom German scholar-
ship — the researches of Roesiger' and Schubert^, the brilliant
sketch by Wachsmuth '', call for grateful mention has succeeded —
in calling back to a new life. The facts we know about his career
are few, but the scanty fragments ' of his writings suffice to prove
the strength of his literary personality. Together with his brother
Lynkeus he had been a pupil of Theophrastos °, and, like the later
Peripatetics, he became a curious inquirer into personal anecdote,
which he freely used for purposes of history. His imagination
was stimulated by his studies of the tragedians ° till he developed
into an accomplished master of dramatic anecdote, where heroes
and heroines, dressed in appropriate costume, play on a stage
whose properties seem inexhaustible. It is to Duris that Plu-
tarch owes some of his most picturesque descriptions such as the —
gorgeous pageantry of the return of Alkibiades, and the picture of
the admiral's galley entering the harbour with purple sails '
as if

some maske had come into a man's house after some great banquet
made ''.'
Yet Plutarch more than once casts severe doubts on the
historical trustworthiness of Duris *, and the censure has been
confirmed by Grote ".

From Diogenes, who mentions a painter Thales on the authority

of Duris (Diog. i, i, 39 = Duris fragm. 78), we learn that he
wrote Lives of the Painters (Trepl fmypd^mi/), and, as we shall

' A. F. Roesiger: (i) De Duride ^ Curt Wachsmuth, Einleitung in

Samio Diodori Siculi et Plutarchi das Studium der alten GeschUhte,
Gottingen, 1874; (2)
aiictore Diss., Leipzig, 1895, pp. 543-546; see also
Die Bedeutung der Tyche bei den Susemihl, 1, p. 585 ff.

spdteren Criechischen Historikern, * To the collected fragments in

Konstanz, 1880. For Duris, see espe- Miiller, K H. G. ii, pp. 466-468, must
cially p. 20 f. be added the new fragments noted by
" Rudolf Schubert : (i) Die Quellen Schubert, Pyrrhus, p. 12.
Plutarchs in d. Lebensheschreibungen * Athen.
iv 128 a.
'
des Eumenes, Demetrios und Pyrrhos, ' Fr.
69, Fr. 70, and the remarks
inSupplementbandixoftheya;4>-i5«V/5^r of Schubert, Pyrrhus, p. 15.
fur Philologie, pp. 648-833 ; (2) Ge- ' Akib.
xxxii, tr. North, ed. Wynd-
schichte des Agathokes ,^\&A3.\i,i%%,i ,f. ham, ii, p. 133.
I3fr. ;
and (3) Geschichte des Pyrrhus, « Pint. loc. cit. ; Perikl. 28, &c.
Konigsberg, 1894, pp. 11-24, give » In reference to the story of
a full and vivid account of Duris. Alkibiades' return, Hist, vi, p. 368.
 DUmS OF SAMOS xlvii

presently see (cf. p. xlix), that he also wrote Lives of the Sculptors.
Pliny mentions him in the Index to Book XXXIV as having written
de toreutice. In the same book (§ 6i) he appears as the authority
for the statement that Lysippos of Sikyon had no master, but that
he was originally a coppersmith and ventured upon a higher
profession at a word of the painter Eupompos, who in presence of
the young craftsman had enounced the dictum that '
nature and
not any artist should be imitated.' The story will repay careful
analysis. The meeting between the young Lysippos and
Eupompos, though not chronologically impossible, belongs to
a class of anecdote devised in order to bring the celebrity of one
generation into pointed contact with the rising genius of the next.
The story of Lysippos and Eupompos reminds one of nothing so
much as of those legends invented by the Italian art-historians, on
a hint afforded by two famous lines in Dante ', in order to bring
the young Giotto into connexion with Cimabue — legends which
represent Giotto neglecting his clothmaker's trade to watch
Cimabue at his work, or Cimabue opportunely passing along the
^
road '
da Fiorenza a Vespignano ' precisely at the moment that
the boy Giotto, while tending his flock, had drawn a sheep
with such surprising fidelity that the delighted Cimabue begged
Giotto's father to let him have the boy as pupil. But antiquity
was rich in similar examples ; the young Thukydides was said to
have burst into tears of emotion on hearing Herodotos recite his
History at Olympia, so that the elder historian was moved to
congratulate the father of so gifted a son'. The undoubted
pupilship of Xenophon to Sokrates was invested, by the later

biographers of the philosophers, with the additional interest of that

first meeting '
in a narrow lane where Sokrates, barring the way
'

with his stick, young man pass till he should

had refused to let the

have answered the question where men were made good and '

virtuous *.' So, too, an exquisite legend had been spun to connect

'
Purgat. Tii, ^^-^6 : Geschichtsforschiing, Bd.'x, pp. 244ff.).
'
Credette Cimabue nella pittura ' Vasari ed. Milanesi, p. 3 70.
Tener lo campo, ed ora ha Giotto ^ Souidas, s. v. Thuc.
il grido * Diog. Laert. ii, 6, 2 ; the analogy
Si che la fama di colui oscura.' to the Lysippos-Eupompos story is
The entirely apocryphal character of pointed out by H. L. Urlichs, Griech-
the Cimabue-Giotto legend has been ische Kuntschriftsteller, p. 27. For
thoroughly exhibited by Franz Wick- further instances of such relation-

hoff, Ueber die Zeit des Guido von ships cf. Diels, Rhein. Mus. xxxi,
Sima (Mitth. des Inst. f. Oesterr. p. I3ff.
xlviii INTRODUCTION
the greatest of the Sokratic disciples with the master already
from the hour of birth : not only was Plato born the day after
one of Sokrates' birthdays, but on the eve Sokrates had dreamed
of a swan flying from the altar of Eros in the Academy, to take
refuge in his bosom, and lo ! as the philosopher was recounting
the vision Ariston brought in the new-born babe, in whom
Sokrates at once divined the swan of his dream '. In the case
of Eupompos and Lysippos there was no pupilship to emphasize,
nor could pupilship be invented, since they practised different
arts; yet there remained the temptation to link the most brilliant

of the Sikyonian statuaries, the chosen portraitist of Alexander,

to the celebrity of the passing generation, that greatest of
Sikyonian painters, whose fame had occasioned, in order to
comprise him, a redivision of the schools (xxxv, 75).
The statement that Lysippos had no master arose in great
measure, I take it, out of the good advice put into the mouth of
Eupompos '
to imitate nature whichand not any artist '
— advice
amounted an aphorism expressing the naturalistic tendencies
to
of the Lysippian school. But from saying that Lysippos followed
nature and no special master it was but a step to concluding that
he never had a master at all. Then, once the master's name
suppressed or forgotten, legend and the art-historians might fill

up the gap as they pleased, and the theory of self-taught genius

was the readiest to hand. But here was an opportunity for further
elaboration : the self-taught boy, the poor coppersmith, is destined
to become the leading artist of Sikyon, at that time the
acknowledged head of the Greek schools. Not only so, but he
achieves great wealth, as we learn from another Duridian fragment
preserved in Pliny (xxxiv, 37), but now separated from its original
context". So that the information as to the early career of
Lysippos, which has been accepted with the utmost gravity by
archaeologists and historians of art, is found to resolve itself into
three apocryphal stories : (i) the autodidaktia assumed to account
for the artist'smaster being unknown; (2) the meeting with
Eupompos, intended to bring into presence Sikyon's greatest
painter and her greatest sculptor ; (3) the rise from obscurity to
fame and riches. Armed with these observations, we shall have

1 Apuleius, de Platone I. understand on what grounds it is

2 The authorship of Duris for this doubted by Snsemihl, i, p. 587, note
passage had been pointed out by 325. (See also Munzer, op. cit.
Brieger, De Fontibus, p. 61 ; I cannot p. 542.)
 DURIS OF SAMOS xlix

no difficulty in detecting the Duridian authorship of a number of

other anecdotes preserved in Pliny. We can at once follow
Miinzer ' in attributing to him the story which tellshow Proto-
genes, whose master, like that of Lysippos, was unknown {quis
eum docuerit non putant constare, § loi), began his career in abject
poverty [summa paupertas) as a ship-painter, yet lived to decorate
the most celebrated spot in the world, even the Gateway of the
Athenian Akropolis; the story of Erigonos (xxxv, 145), the slave
who rubbed in the colours for the painter Nealkes, who yet lived
to be a great master himself, and to leave in Pasias a pupil of
distinction; further, the kindred story of how the sculptor
Seilanion (xxxiv, 51)^ became famous nulla doctore, and yet, like

Erigonos, formed a pupil of his own, Zeuxiades. The kinship of

the whole group is self-evident, and even if name of Duris
the in
xxxiv, 6 1 were not there to reveal the author we should be led to
fix upon him, because of the precise parallelism of these stories
to that recounted by Plutarch, on the authority of Duris, of how,
through the unexpected favour of Philip, Eumenes of Kardia
rose from being the son of a poor carrier, who earned a scanty
living in the Chersonese, to wealth and position'. Such anecdotes
seem in measure prompted by the desire to illustrate the
changes of Fortune, of that Tu;^)) whose caprices were so favourite
a theme of the Peripatetics *-

Duris was the author of yet one more anecdote of an artist's

rise from obscurity to fame, which has been preserved in two

scattered fragments in Pliny and in Diogenes. In Plin. xxxvi, 22

we read : non postferuntur et Charites in propylo Atheniensium

^ Op. cit. p. 534. Kioiv Kal traXaiff^Ta TToiBuy, kv o7s

' The Duridian authorship is de- eirjiiepfiffavTa rhv Ei/ievr] Kal (pavivra

tected by H. L. Urlichs, op. cit. p. 28. avvtrov Koi avdpeiov dpeffai tw ^iXiTTirtu

The notice of Seilanion appears in Kal dva}^7f(p67jvai. The analogy is

the chronological table, awkwardly pointed out by Miinzer, 0/. «V. p. 534,
tacked on to the artists of the 1 13th who also refers to Duris all the stories
Olympiad, where it is evidently out of discussed above of artists rising to
place; Add. to Comm. on xxxiv, 51, 1. fame from humble beginnings. The
' Plut. £am. I Eiiihri &i t&v Duridian authorship had become evi-
KapSmvof laropft Aovpts Trarplis /ttv dent to me since analysing the anec-
apia^ivovTos ev Xeppovrjaai SicL ucviav dotic material in Pliny in the light of
yfviaSat, Tpacj)rjvai Si (KevSepias (v the hints thrown oat by H. L. Urliclis,

ypdfifiafft Kal irtpl traKaiffTpav en 5e op. cit. p. 21 ff. Addenda.

naibbs ovTos avrov ^'iMirirov irapemSTj- * See especially Roesiger, Bedeut-
fiovvTa Kal axoKrjv ayovra tA, tSiv ung der Tyche, passim. Susemihl, i,

KapSiavwy BiaaaaSai irayKpaTM fieipa- p. 592.

1 INTRODUCTION
quas Socrates fecit, alius ille quam pictor, idem ut aliqui putant.
In his Life of Sokrates, Diogenes (ii, 5, 4) has the story on the
authority of Duris that a Sokrates had begun life in slavery, and
as a stone mason '- Now, although Diogenes appUes this story to

the philosopher, there is nothing in the fragment as it stands to

show that Duris had this Sokrates in his mind. Indeed, since
nothing is known of the slavery of the philosopher''', there is every
reason to suppose that Duris was speaking of the sculptor, and
was recounting of him the same tale of modest beginnings as in

the cases of Lysippos, of Protogenes, and of Erigonos. Like

Erigonos he had been a slave, and in this capacity had practised an
inferior branch of the art in which he was afterwards to excel.
Like Protogenes, moreover, thisman rose from the humblest
circumstances to see his works —the famous Charites in propylo

Atheniensium ! Further, the peculiar use in both passages of

propylon for the gateway of the Akropolis, instead of the invariable
propylaion or propyiaia, affords satisfactory corroborative evidence
of their common origin'. We get an interesting trace of the
story's passage through the hands of Antigonos in the words
alius ille quam pictor, idem ut aliqui putant. The identity of

' Diog. Laeit. ii, 5, 4 AoC/iis koX nothing abont it), it was inevitable
hovKtvaai airuv (XmicpaTq) koX epya- that should arise in face of the
it

aatrOat \l6ovs. The statement which said Charites by a namesake, com-

immediately follows, concerning the bined with the fact that the father of
Charites on the Akropolis, which Sokrates, Sophroniskos, was a scnlp-
some said (Ji/ioi ipaaiv) to be by tor. That the contaminatio of philo-
Sokrates, does not concern us ; H, L. sopher and sculptor occurred at an
Urlichs ( Griechische Kunsischriftst. early period is proved by some Attic
p. 43) is certainly right in referring coins of Hellenic date bearing the
it to another source than Duris. name of an official Sokrates who, in
Duris was quite capable of in-
'^
evident allusion to his famous name-
venting the story had it suited him sake,had the group of the Charites
but in the first place there is
nothing from the Akropolis stamped on the
to show that he wrote concerning the Reverse. (See Furtwangler, ap.
philosophic Sokrates or any philoso- Roscher, i, p. 881.) The celebrity
phers ; in the second, it is odd that so of the relief, owing to the supposed
striking a circumstance as that of the authorship of Sokrates, accounts for its
philosopher's slavery, once invented, numerous copies. See note on xxxvi,
should not have found way to any
its 32, and Furtwangler, Statuenkopien
authors besides Diogenes.— As to the im Alterthum, p. 532 f. (where the
l«gend that the philosopher had been writer modifies his earlier view as to
the sculptor of the Charites (Paus. i, the date of the extant Charites reliefs).
2 3, 8; ix, 35, 3; Schol. Aristoph. = Wachsmuth, .Sto/i ^M^k, i, p. 36,
vK^iKai, 773 Souidas, s. v. Sokrates note 2 also B. Keil in
; ; cf. Hermes,
Pliny, it should be noted, knows xxx, 1895, p. 227.
 DURIS OF SAMOS li

Sokrates the sculptor with the painter of the same name was
maintained against a previous writer who had disputed it. The
nature of the controversy recalls at once Antigonos and his hostile
critic Polemon\ (See Addenda.)
We have seen that one factor in these stories is the desire to
account for the absence of any record concerning the masters of
certain celebrated artists. We may therefore suspect that a
second little group of Plinian anecdotes of sculptors who were
ifiMo pictores and who exchanged painting for sculpture may be
traced back to the same workings ". The case of Pheidias (xxxv,
52) is specially deserving of analysis. The ambiguous character
of the information concerning the painted shield, upon which his
reputation as a painter rests, has been detected by H. L. Urlichs
(see Commentary). We may now carry the argument further and
recognize in the statement that Pheidias was initio pictor an attempt
to solve a problem which greatly exercised the ancient art-historian,
namely the problem who was the real master of Pheidias.
Three answers to this question may be distinguished in ancient
criticism. According to one tradition, Pheidias had, like Myron
and Polykleitos, been the pupil of Hagelaidas of Argos ', a view
—
which has long been shown by Klein *, Robert, and others to be —
improbable, if not as impossible as it apparently is in the case of
Polykleitos '. The tradition has all the apocryphal air of those
stories, common and countries, which group great
to all times
names together without regard to temporal probabilities'. In
certain circles, however, the real fact, as recent morphological
study reveals it ', that Pheidias was the pupil of Hegias, had

'So H. L. Urlichs, Gr. Kunst- sound criticism requires us rather to

schriftsteller, p. 43. lay it aside, if not absolutely to reject
^ Cf. Miinzer, of. cit. p. 533. it. The chronological difficulties have
' Schol. to Aristoph., Frogs, 504, been hinted at above. Moreover, by
whence the information was copied exhibiting Hagelaidas as the master
by Tzetzes and Souidas. of the three most representative artists
* Klein, Arch. -Ef. Mitth. aus of the fifth century, the tradition be-
Oesterreich, vii, p. 64 ; cf. Robert, trays that tendency which is, to quote
Arch. Mdrchen, p. 93 f. ; Furtwangler, a modern writer, '
so easily explained
pieces, p. 53. pyschologically, but so fatal to criti-
° Robert, /. c. cism, of making one great name stand
" Lately Ernest Gardner, ^a«rt^&a/J for a whole epoch or style.' (Bemhard

of Greek Sculpt, i, p. 193, has at- Berenson, Lorenzo Lotto, an Essay in

tempted, by straining the dates to the Constructive Criticism, p. 26.) Add.
utmost, to defend the tradition for all ' Furtwangler, loc. cit. The Hegias
three sculptors. Failing, however, tradition is preserved by Dio Chryso-
suflicient evidence for its truth, a stom. Or. Iv, ircpi 'O/^. «aj "Zaxp. i.

da
Hi INTRODUCTION
either remained unforgotten or, as is more probable, had been
recovered from the monuments. Neither tradition, however, can
have been widely current, for had it been generally reported that
Pheidias was the pupil of either artist some mention of the fact,
or at least some argument disputing it, would surely have filtered

into Pliny, who mentions Hegias twice (xxxiv, 49, 78) and
Hagelaidas three times 49, 55, 57), noting, moreover, that the
{ib.

latter artist was the master of Myron and of Polykleitos. The

Plinian on a totally different track, and their
authors were
solution of the problem reveals the existence of a third class of
critics, who, ignorant of the Hagelaidas and Hegias theories,
filled up the gap in tradition by declaring that the early training
of Pheidias was that of a painter. To this theory some writer
of the stamp of Duris would give more point by the opportune
discovery of a shield reputed to be painted by Pheidias, though,
strange to say, unable to fix the whereabouts of so weighty
a piece of evidence more precisely than by saying it kad been
at Athens.
But if Duris of Samos is to be held responsible for the story

that Pheidias had begun life as a painter it follows that we must

likewise trace back to him the similar story concerning Pythagoras
of Samos, and hence the whole ridiculous splitting into two of
an artist who happened to sign sometimes 2a/jios from the home of
his birth, sometimes 'Vrj-ftvos from that of his adoption (see Comm.).
UvBayopas 'S.diJ.ios would have a triple interest for Duris as a native :

of Samos ; as a namesake of the philosopher Pythagoras, also

a Samian celebrity, whom Duris had mentioned in his second
Book of the History of Samos (fr. 56) and as a famous portraitist
;

of athletes, for Duris, who had himself as a boy won a victory

at Olympia (Paus. vi, 13, 5 '), appears in later life to have written
a book on athletic games, wEpi aywvwv ^, the material for which he
would doubtless derive in great measure from the inscriptions on
the bases of the athlete statues. It was perhaps thus that, coming
upon the alternative ethnic of Pythagoras, he jumped at the con-
clusion that there were two artists of the name. Then, having
discovered a Tlvdayopas ^dfnos, it became necessary to find out his
master. Klearchos — himself a Rhegine— must be left for Pytha-
goras of Rhegion (Paus. vi, 4, 3), and so Duris, instead of involving
' See the reading proposed by passage seems entirely erroneous.
Susemihl, i, p. 586, note 323. Schu- ' SusemiM, i, p. 5875.
bart's emendation of the corrupt
 DURIS OF SAMOS liii

himself in false school genealogies, simply filled up the gap by

declaring the Samian Pythagoras to have, like Pheidias, begun
life as a painter. Finally, since a sentimental harping upon
family relationships has been acutely detected by Miinzer {op. cit.

P- 533) ^s a characteristic of Duridian anecdotes, we may trace

back to Duris the mention of Sostratos, the pupil and nephew
filius sororis — of Pythagoras of Rhegion. I have noted in the
Commentary that there is nothing to lead us to identify this
Sostratos with any of the other sculptors of the name, and Duris
was nothing loth to provide his heroes with pupils, with children
or other near relations, of whom history has otherwise no record.
So the Arimnestos (Duris, fr. 56), son of the philosopher Pythagoras,
and himself master of the philosopher Demokritos, appears a pure
creation of Duris, as, for the rest, do the pupils of Seilanion and of
Erigonos.
The whole group of stories we have been considering were
precisely of the kind to attract Antigonos of Karystos, who in his

Life of Pyrrhon (above, p. xxxviii) had especially noted the poverty

and obscurity of the philosopher's early days, adding that he had
begun as a painter ^ In the case of Pythagoras there is a further
interesting little proof that the story was handled by Antigonos.
The words in § 61, hie {Pyth. Samius) supra dido {Pyth. Rhegino)
facie guogue indiscreta similis fuisse traditur, contain a sharp
which has amusingly escaped Pliny and before him
criticism,
Varro, upon the statement that the Rhegine and Samian Pytha-
goras were different persons. The fact of the criticism turning

upon a question of identity of artists, no less than the manner in

which the criticism is passed, at once betray Polemon of Ilion,

the indefatigable assailant of Antigonos, whose error, as regards

Pythagoras, Polemon now corrects. 'Your second Pythagoras,
my friend Antigonos,' wrote the amused Polemon, 'looks to
me suspiciously like your first '.' '
Polemon's whole book was
merely the comprehensive criticism, the improvement and en-
largement of that of Antigonos' (Miinzer, op. cit. p. 526), and it
was characteristic of its controversial parts, as H. L. Urlichs was

* The analogy between the anec- steller, p. 39 ff., but I owe it to Prof,
dotes is pointed out by Miinzer, op. W. Klein to have explained to me,
cit. p. 533. as I believe correctly, the whole
^Polemon's authorship of the criti- satirical force of the words hie supra
cism was rightly detected by H. L. dicto, &c. . . .

Urlichs, Griechische Kunstschrift-

liv INTRODUCTION
the first correctly to apprehend, that, had
while Antigonos
inclined to multiply names and attributions, Polemon on the
contrary wished to reduce them \ He was wrong in the case of
the Agorakritan Nemesis ; in that of Pythagoras of Samos and
Rhegion he was — as it happens — quite right.

Having thus detected in Pliny a number of anecdotes betraying

the Peripatetic, and more especially Duridian, delight in dwelling
upon unexpected turns of fortune or upon paradoxical changes of
profession, we now turn to another class of story, intended
primarily to give point to striking traits of character. In xxxiv,
71 it is recounted of the painter Parrhasios that he made an
insolent use of his success, taking to himself the surname of the
'
Lover of Luxury ' (li^poSiatros), boasting moreover of his descent
from Apollo, and that he had painted Herakles even as the hero
had appeared to him in a dream. Finally the artist's intolerable
pride finds its highest expression in the insult flung at his rival
Timanthes. The story recurs in an amplified form, though
with the Apolline descent omitted, in Athenaios, who has the
first part of it on the authority of the Peripatetic Klearchos of
Soloi.

Athen. xii, p. 543 c ' Among the ancients ostentation and extravagance
:
'

were so great that the painter Parrhasios was clothed in purple and wore
a. golden wreath upon his head, as Klearchos says in his Lives. Parrhasios,

' Zenobios, v, 82 (above, p. xxxix) the ' Mother of the Gods.'

with Athenagoras, UpeaPfia, 17 = The alternative account in Athe-
( = onr App. XI), of. Pans. ii. 27, 2 ; uaios (xv, 687 b) should be compared
see also Pans, i, 24, 8 and the remarks (lack of space compels omission of
of Furtwangler, Masterpieces, p. 412, the Greek):
on the artist of the Apollo Parnopios. •
Though Parrhasios the painter
With the statement preserved in was vain beyond the measure of his
Pliny XXXV, 54, to the effect that the art, and had, as the saying goes, drunk
gold-ivory Athena at Elis was the deep of the cup of liberty that his
work of Kolotes, it is interesting to pencil gave, yet he had pretensions to
compare Pans, vi, 26, 3, where the virtue, writing on all his paintings at
words itvat fiiv Si) *ei5i'ou ipaalv airriv Lindos,
(i. e. the Eleian Athena) seem to " One who lived in luxury ... (djSpo-
imply, as Miinzer kindly points out Siairos)."
to me in an unpublished note, that But a wit, who was, I imagine, angry
the authorship of the statue was with him for defiling the delicacy and
a controverted point —in other words, beauty of virtue by diverting to vulgar
the phrase of Pausanias is the echo luxury the fortune given to him by
of Polemonic criticism such as
a' chance, wrote at the side,
that surviving in the Zenobian gloss, " One worthy of the stick . . . (Ja0So-
and that which doubtless attached to Simros)."
the question of the authorship of In spite of all, however, he must be
 DURIS OF SAMOS Iv

while arrogant beyond what his art warranted, yet laid claim to virtne, and
would write on his paintings

One who lived in luxury {d0poSimTos) and honoured virtue painted this.

' And some person who was stung by the words wrote at the side :

One worthy of the stick (/5ai8SoSiaiTos), &c.

' He further wrote these lines on many of his works :

A man who lived in luxury and honoured virtue painted this, Parrhasios
bom in famous Ephesos. Nor have I forgotten my father Evenor, who begat
me as his lawful son, first in my art among all Greeks '-

' And he spoke a vaunt with no offence in the lines :

Though they that hear believe not, I say this. For I aver that now have
the clear limits of this art been discovered by my hand, and a bound is set that
none may overpass. Yet is nothing faultless among mortals '.
'
Once Samos, when competing with his Aias against an inferior picture,
at
he was defeated and when his friends condoled with him he said that, for
j

himself, he cared little, but he was grieved for Aias, who was worsted a second
time.
'
As signs of his luxurious living he wore a purple cloak and Iiad a white
fillet upon his head, and leaned upon a staff with golden coils about it, and
fastened the strings of his shoes with golden latchets.
'
Nor was the practice of his art toilsome to him, but light, so that he would
sing at his work, as Theophrastos in his treatise on Happiness tells us. And
he uttered marvels when he was painting the Herakles at Lindos, saying that
the god appeared to him in a dream and posed himself (rd. airov) as was fitting
for the picture. Hence he wrote upon the painting :

As many a time in nightly visits he appeared unto Parrhasios, such is he

here to look upon ^'

Jahn has pointed out, in his discussion of the passage *, that

Klearchos had only the story of the artist's effeminacy. That
Athenaios derived the rest of his information concerning Parrhasios
from another source is manifest from the clumsy repetition of the

pardoned, because he said that he tc'xitjs evpijaSai repimra rijaSe

loved virtue. This is the story of aa<prj

Klearchos. X*'/"^' "^' 4/«fep»)s' dvvircpBKrjTos

^ afipoSiaiTOS avrjp apniiv t( ai0a>y SI Treirrjycv

t65' eypaipa ovpos' &fi6jfj.rjTov S* ouSec eyevTO

Xlappcunos, ic\eivrjs irarpiSos e( fiporots.

'E<^6ffow. ^ Otos 8' iw^x^^^ tpavrd^cTO -noWaici

ov8i TTaTp6s \a06p.7]v Evrivopos, 5s (ponaiv
pa pt 6(pvff€ Ilappaaiq/ Bi' ijiryov, toTos o5

ypriaiov, 'EWrivav TrpSira tpipov- iarh dpav.

ra TEX""?'- ' Kleins Beitrdge 2. Geschichte d.
^ el KoX ainaTa xKvovai, \(fa T&ie alien Literatur (in Sdchsische Berichte
<^r)pi y&p ijdj) for 1857), p. 285, note i.
Ivi INTRODUCTION
epigram a^pobiairos avf]p, as also from the variant details respecting
the artist's headgear — a gold crown in the first passage, a white
fillet in the second. If we analyze the stories in Pliny and in
Athenaios we obtain the following elements :

(i) The and luxury, given in

story of the artist's effeminacy
Athenaios, on the authority of Klearchos, and repeated from
first

an unnamed author; in Pliny it occurs combined with that of

the artist's arrogance fecundus artifex, sed quo nemo insolentius
:

usus sit gloria artis habrodiaetum se appellando.

(2) The boast recorded both in Athenaios and Pliny that

Herakles often appeared to the artist in dreams w^hile he was
engaged upon the hero's picture.

(3) The story, given also by both writers, of the competition

at Samos, and the insult to Timanthes.
(4) The story, preserved only in Pliny, of the artist's boasted
descent from Apollo.
It is evident that these membra disieda must all have been
found united in some older writer, from whom they found their
way through different channels into Pliny and Athenaios re-

spectively. Now Klearchos of Soloi was himself a pupil of

Aristotle '
; and, although Athenaios does not name his authority
for the rest of the story, it is evident from its character, and from
the mention moreover of Theophrastos for the parenthetical
anecdote that Parrhasios was in the habit of singing at his
work, that we are full among the Peripatetics. Therefore, as
H. L. Urlichs has pointed out, the original authority must be
a Peripatetic who had written upon the painters; in a word, it
must be Duris of Samos ". This conjecture finds confirmation
in the comments respectively made by Schubert ' and Miinzer *
on the especial delight which Duris takes in describing details of
dress (above, p. xlvi). It is significant that out of eighty-four
fragments in Miiller no less than ten ^ are concerned with elabo-
rate descriptions of costume. Parrhasios the effeminate, with
his purple robe and his golden crown, is reminiscent of the
effeminate Demetrios, with his yellow hair and painted face, of
frag. 27; of the regal Demetrios, with the gold-embroidered robes
and the hair-band shot with gold (/iiVpa ;i(/)uo-o'7ra(r7-or), of frag. 31.
•
' Athen. xv, p. 701 c. * Op. cit. p. 536.
^ Griechische KanstschriftsteUer, '
Fr. 14, 20, 22, 24, 27, 29, 31,
47,
P- 25- 50, and 64.
' Pyrrhus, p. 15.
 DURIS OF SAMOS Ivii

But Parrhasios was not the only painter who delighted in

gorgeous apparel. According to Pliny (xxxv, 62), his rival Zeuxis
carried the same taste so far as to make his appearance at Olympia
displaying his own name woven in letters of gold into the em-
broideries of his garments aureis litteris in palliorum tesseris
intextum nomen —a detail which recalls the description of the
chlamys of Demetrios, into which was inwoven the vault of
heaven with its golden stars and twelve signs of the zodiac ^

Robert had already pointed out that the similarity of the stories
^

narrated by Athenaios of the costume of Parrhasios, and by Pliny

of that of Zeuxis, showed them to be derived from the same
author. Since in the case of Parrhasios this author was Duris of
Samos, it follows that it is to him also we must refer the Plinian
anecdote of the luxury of Zeuxis ^.

A word remains to be said about the epigrams out of

which the stories concerning Parrhasios are in great measure
elaborated. It was the opinion of Jahn that all the epigrams
purporting to have been written by Parrhasios upon himself, and
inscribed upon his pictures —with the exception perhaps of the one
celebrating the nocturnal apparitions of Herakles — were apocry-
phal *-
Jahn included in the same category the self-laudatory
epigrams placed in the mouth of the painter Apollodoros by one
Nikomachos °, and the epigram which, according to the orator
Aristeides (Or. xlix, vol. ii, p. 521 Dindorf), had been elicited
from Zeuxis in answer to the boasts of Parrhasios.
'
Listen now,' writes Aristeides, '
to another swaggering painter,'
and quotes the following epigram of Zeuxis :

'
Herakleia my Fatherland, Zeuxis my name any among men pretend to
; if

have attained the limits of my art, let him come forward and be proclaimed
conqueror. . . . Yet methinlis that mine is not the second place °.'

^ xii, 535 f ( = fr-

Duris «/. Athen. hung in front of pictures which he
31) ; x^^A^^fs outou ^(roj"
al Si exhibited at Olympia (see Arch. Ep.
if^vivov ixovaai rb (peyyos rijs )(p6as, Mitth. aus Oeslerreich, xii, 1888, p.
TO i\ Ttav [verba suspecta, Keil] and the article /Vir/«?-o in Smith's
1 06 f.,

TTcJ^os eviJ<))avTo -xpvaom dffrepas ex""' Du/. of Ant. vol. ii, p. 410).
KoX ToL SiiSeKa (wSia. Cf. Plut. De- * Kleine Beitrdge, p. 286 ff.

metrios, ^\. ° ApudYLs^aisXiointiplyiirpav koX

Arch. Mdrchen, p. 80.
^ -noaiix. iv, 7
The remarks made above will
^ OStos S^ aoi 6 KKftvbs &v' 'EWiSa
show sufficiently why I have thought irdaav 'AiroWS-
it unnecessary to refer either here or Soupos' yiyvdufftcets Tovvo/ja tovto
in the Comm. to the witty explanation aKvav.
of the pallia of Zeuxis as the curtains ' 'HpaK\na Trarpis, ZeCfis 8' broji'-
Iviii INTRODUCTION
These poetical criticisms, passed in similar vocabulary by three
great contemporary painters upon their own or one another's
achievements, seemed suspicious to Jahn. Bergk, however,
saw no reason to dispute their authenticity', and in the case of
Zeuxis at least it has lately been pointed out that his epigram has
a parallel in the acrostic inscribed upon the grave of the rhetor
and sophist Thrasymachos of Chalkedon, a younger contem-
porary of Sokrates : ToiVo/ia e^ra 'P£ "AX^a %av 'Y Mu "AX^o Xci Oi
Sax,
I
TTarph XoKKriSmv- ^ 8c rex"'] <TO<f>lr] (Athen. X, 454 {=Anih. App.
359)^- We may gather from the observation that Zeuxis stood;,

as probably also Polykleitos, in close relation to the Sophists *.

And the same is possibly true also of Parrhasios.

But to return to Duris. We have seen that those episodes
of the Zeuxis-Parrhasios legends, designed to point the ethical
qualities of the artists, might with certainty be referred to him.
Now it has been finely discerned by Robert that the amiable
Apelles and Protogenes are conceived as a pendant, so to speak,
to the haughty and arrogant Zeuxis and Parrhasios, '
the faults of
the older couple serving as a foil to the virtues of the younger.
As a contrast to the productive and luxurious Parrhasios, we get
Protogenes, struggling with the bitterest poverty, working with
the most painstaking care, and accordingly producing but little :

summa paupertas initio artisque summa intentio et ideo minor fer-

tilitas. The portrait of Apelles is drawn with an even more
loving hand; his simplicitas, which manifests itself in his un-
grudging recognition of the superiority of masters who surpassed
him in special points ; his comitas, to which he owed the intimacy
of Alexander ; his benignitas displayed
towards Protogenes are —
dwelt upon with admiration, and instances are adduced in their
support *.'
The intercoherence of the two sets of anecdotes is so patent

(1 Se Tis avlfSiv ^/icrepi;? rtx^n^ duces himself to the reader as ifioX :

TTCipara ip-qaiv ix^iv Sei^as viKcnai- 'AyaBias niv ovojm, Mvptva Si irarpU
SokSi Se, (ptjaiv, fiixas oixl tcL Sevrep' (VLeiivovios Si TtaTqp), Tcx^ij SI rd
cX""- 'PaiMiav vdiu/M ko! oi Tfiy Sixaarripianr
The resemblance to the second epi- aySii'es. See Reitzenstein, Hermes,
gram of Parrhasios, quoted by Athe- xxiv, 1894, p. 238.
a
naips, is striking. Roijgrt, VoHvgemalde eines Apo-
1 ZyW«Cra««,ed.4,vol.ii,p.3i6f. baten,-p. 20; Diels, Deutsche Liter.-
''
Imitated as late as the second half Ztg. May 29, 1886, p. 784, and Arch.
of the sixth cent. A. D. by Agathias Anz. 18S9, p. 10.
(pp. 8, 18, ed. Niebuhr), who intro- » Arch.
Mdrchen, p. 81.
 DURIS OF SAMOS lix

as of itself to justify us in assuming Duris, to whom we owe the

one set, to be the author also of the other. This assumption is

confirmed when we look more clearly into the details.

Most of the anecdotes recounted of Apelles and Protogenes
are intended, as Robert has already remarked, to give concrete
expression, above all, to the moral qualities of the artists, and at
times also to their technical excellencies. The famous story of
the 'splitting of the line' (xxxv, 80-82), like that of the circle
traced by Giotto in presence of the Pope's envoy', is merely
a comment on the delicate draughtsmanship of Apelles. Proto-
genes is made to split the line which Apelles divides once more,
that the latter's superiority may be only the more triumphantly
established by a great rival's acknowledged discomfiture. The
setting of this particular anecdote moreover —the description
of the studio with the solitary old woman (see Comm.)
guarding in the master's absence the large easel with the panel
—
ready to be worked upon is specially Duridian in its picturesque
detail.

The two proverbs attributed to Apelles, 'No day without a

stroke '
(§ 84), and Cobbler,
'
stick to thy last '
(§ 85), were intended
to bring out his industry, and his respect for the opinion of
others, though naturally only in so far as they speak of what
they understand. The moralizing tone of the Peripatetic is heard
in both the anecdotes elaborated out of the proverbs ; nor is it

superfluous to note that Duris seems to have had a strong

leaning to proverbial sayings, possibly actually to have collected
them \
The anecdote recounted in §§ 85, 86 of Alexander the Great's
visit to Apelles illustrates another of the artist's qualities, his
comitas or amiability. The kindly snub administered by Apelles
to the king is evidently apocryphal, belonging to that class of
anecdotes which, as Freeman would say, '
go about the world with
blanks for the names Comm.) has it of Zeuxis
V for Ailianos (see

and a Megabyzos or Priest of Kybele. The story of Pankaspe,

which, on the other hand, is a comment on the monarch's
generosity and self-control, is not only practically inseparable
from the first, but Alexander's detection of his artist friend's
trouble, and the magnanimous self-denial with which he gives up

' Vasari, ed. Milanesi, vol. i, p. id. 11,28; b. ^s^^VhA. Lysander, \%.
383. " Freeman, Methods of Historical
^ See fr. 49 = Zenob. v, 64; fr. 68= Study, p. 134.
Ix INTRODUCTION
to him the most beloved of his mistresses, bear an extraordinary
resemblance to the tale recounted by Plutarch (Demetr. xxxviii)
of how King Seleukos gave up his wife Stratonike to his sick son
Antiochos, whose love to his step-mother had been discovered
by the physician Erasistratos as the cause of the young man's
disease. The Plutarchian story has been traced back to Duris ',

whose partiality for erotic subjects, moreover, is abundantly

proved by the extant fragments'*.
The story told in § 87 emphasizes the benignitas of Apelles
towards all rivals, by singling out for our admiration his conduct
in the case of Protogenes. The episode was evidently originally
of a piece with the visit recounted in §§ 81, 82. To the story of

the horses in § 95 we shall return later (p. Ixiv) ; it may, how-

ever, be noted here that it shows the amiable and good-tempered
artist losing patience, as in the case of the cobbler, with people
pretending to know more about art than himself.
The Duridian character of the story of the rise of Protogenes
from poverty to fame (§ loi) has already been noted in another
connexion. His homely fare of soaked lupins gives point to his
poverty and sobriety. The story in § 103, telling how the froth

at the dog's mouth in the picture of 'lalysos' was rendered

by a lucky accident, when all the artist's efforts had failed, is

eminently Peripatetic and Duridian in its delighted insistence upon

the miracle of chance {canis . . . quem pariter et casus pinxerit

fecitque in pictura fortuna naturani) ^^ It is almost the anecdotic

' Schubert, Pyrrhus, p. 21. 605 E), who not impossibly had
xiii, p.
^
Cf. fragm. 2, 3, 19, 27, 35, 37, himself got it from Duris, the statue in
42,43,58,63. Thus he might possibly question having been at Samos. We
be responsible for the story of Pausias learn, moreover, from Athenaios (xiii,
and Glykera (xxxv, 125), and for the p. 606 A), on the authority of Adaios
anecdote recounted in xxxv, 140, of ofMitylene,thatitwasthework ofone
a Stratonike, who may be
Queen Ktesikles (cf. Brunn, K. G. i, p. 424)
identical with the Stratonike men- he is otherwise unknown, and the
tioned above. Perhaps too he had name happens to be identical with
the stories of the lovers of the Knidian that of the painter of ' Stratonike and
Aphrodite (xxxvi, 2i) and of the Eros the Fisherman.'
at Parion (ib. § 22) ; the stories, it is ' The similar story recounted of
true, were derived by Pliny from Nealkes (xxxv, 104) is probably a
Mucianus (p. xc), but the latter may mere doublette of that of Protogenes;
quite well have had access to Duris but there is nothing in the date of
(cf. p. xci) or to art-literature based Nealkes, as now established by Miin-
upon Duris any rate we find a
; at zer (see Comm.), to prevent its having
similar anecdote recounted by Klear- originated with Duris.
chos of Soloi (fragm. 46 ap. Athen.
 DURIS OF SAMOS Ixi

illustration of a line of Agathon quoted by Aristotle : rfx^i Tvxnv

fo-rep^e, koX Tvxr) Tex"'!'' '' (Addenda.)
The story of the protection accorded by Demetrios (who by
the way is a favourite hero of Duris) to Protogenes and of the
'',

friendly intercourse between the warrior and the artist (§§ 104,
loc), recalls the intercourse of Alexander and Apelles. Moreover,
the scenic setting, the description of the artist living in hortulo
suo (see Comm.), must be by the hand which had described the
anus una keeping watch in the empty studio. Of the Satyr
upon which Protogenes was work when Demetrios besieged
at
Rhodes, Strabo (xiv, p. 652) tells an anecdote characteristic of
Duris. The Satyr was represented leaning against a column
upon which perched a partridge now so greatly was the painting
;

of the bird admired that it detracted from the attention due to

the central figure ; the painter, accordingly, vexed because his
main theme had become subsidiary (to tpyov irapepyov •yeyoi'dr),

erased the bird. The story is identical in spirit and intention

with that of the boy and grapes painted by Zeuxis, and recounted
by Pliny (xxxv, 66) and Seneca Rhetor (see Comm.\ I incline
to credit theSamian historian with the authorship of both. Lastly,
the story of Aristotle's advice to Protogenes to paint the feats of
Alexander is obviously more likely to proceed from the Peripatetic
Duris than from any other of the Plinian authors.
We have thus recovered considerable fragments of as many as
four of Duris's Lives of the Painters. There still remain scat-
tered up and down the Plinian narrative a number of Duridian
passages, which I propose to examine in conclusion.
Closely connected with the anecdotes illustrative of character
comes another series, designed to give concrete form to certain
art-problems which had at different times exercised different
schools. A striking instance is the story told in xxxv, 64, of how
Zeuxis combined the beauty of his Helen painted for Kroton
(the Agrigentum of Pliny is a mistake, see Comm.) from the best
maidens of that city. The anecdote
features of the five fairest
embodies the axiom that since there is no excellent Beauty, that
'

hath not some strangenesse in the proportions,' the artist, striving

must needs take the best Parts out of

for the ideal perfection, '

Divers Faces to make one Excellent '.' Both the problem and
" Ethics, vi. 4. lSbc Addenda. Demetrios, for which Duris is one of
^ The story is also told with only the main sources,
slight discrepancies by Plutarch in the ^ Bacon, Essays, xliii.
Ixii INTRODUCTION
its solution had been discussed by Sokrates in the studio of
Parrhasios\ Cicero, recounting the story of Zeuxis and the
maidens as an illustration of the method he had himself followed
in his study of rhetoric, had naturally combined it with the axiom
it was originally intended to illustrate. The long passage {de
Invent. Rhet. ii, i, i) is too well known to need full quotation,

but the closing words are significant for our purpose, as showing
how the anecdote had its rise in philosophic speculations :

'. . he (Zeuxis) did not believe that all the excellencies he needed for his
.

beauteous image could be found in one body, for this reason, that nature never
puts the perfect finishing touch to all the parts of any one object. Therefore,
precisely as though by bestowing everything on the one she would have nothing
left for the rest, she confers some benefit, now here now there, which is always
inseparable from some defect ^'

Dionysios irav apx- by using the anecdote to prove that

KplcTLs I),

we may, out of a varied(ffoXu^d^fia), combine and

erudition
inform the indestructible image of Art, shows his thorough
appreciation of the philosophic lesson it was intended to convey.
To a genial inventor like Duris, trained moreover in philosophic
doctrine, may well be attributed the shaping of a story so much
more apt to clothe an aesthetic problem than to convey an actual
artistic practice. The fable of the five maidens of Kroton is of
perennial interest ; it haunted the imagination of Raphael, who,

writing of his Galatea to Baldassare Castiglione, says that 'per

dipingere una bella, mi bisognerei veder piii belle,' and at a later
date we find it astutely criticizedby Bernini ' (see Add.).
Duris may also be credited, I think, with the expression of
another problem of kindred nature, conveyed this time, how-
ever, not as an anecdote but as an apothegm. The judgement
which Lysippos had passed upon his predecessors (xxxiv, 6r),
saying that, while iAey represented men as they are, Ae strove
to represent them as they appeared to be, expresses, as I have
pointed out in the notes, a dominant problem of art, the

' Xenophon, Memorah. iii, lo, i : simpliciin genere omnibus ex partibus

. . . IjreiS^ ov fiaSiov kvl avepimai iripi- perfectum natura expolivit. Itaque,
TVxeTv diieinrra irivra ex""", l« toK- tanquam ceteris non sit habitura
Xav amayovTis rd ef kiciaTov icaWia-- quod largiatur, si uni euncta conces-
TatovTOJs oKa to, aii/mra aaXA troiarf serit, aliud alii commodi, aliquo
tpalveaSai ; iroioviiiv yap, itprj, ovrms. adiuncto incommodo muneratur.
' Ncque enim putavit omnia, quae ' See Baldinucci,
Notizie del' Pro-
quaereret ad venustatem, una se in fessori del Disegno da Cimabue in
corpore reperire posse idea, quod nihil qua (Firenze, ed. 1847), p. 661.
 DURIS OF SAMOS Ixiii

problem of impressionism versus realism. Miinzer' has lately

referred the passage to Antigonos, who records a somewhat similar
judgement passed by the philosopher Menedemos upon his prede-
cessors '\ This, however, only proves the later hand of Antigonos.
So illuminating an aphorism could only have arisen in the brain
of a far more powerful writer. The Lysippian judgement recalls,

as has often been noticed ', that which Aristotle makes Sophokles
pass on himself and Euripides (Arist. Poetics, 1460 b*) is, in —
fact, but the application to a new problem of a phrase traditional

in Aristotelian circles °. It is evident that Duris, who moreover is

expressly named by Pliny as the authority for the early career of

Lysippos, is far the likeliest of the Plinian authors to be responsible
for the Lysippian apothegm'- The attribution is corroborated,
moreover, by his partiality for such sayings, which he possibly
collected systematically in emulation of the dno(j)deynaTa or
anoiivTuioveifiaTa of his brother Lynkeus '.
He was an adept at deducing apothegms out of well-known
lines of the poets and dramatists, even at the cost of occasional
misapplication (Plutarch, Demetr. 14, 35, 45, 46 ; with Athen. vi,
249 c, cf. Odyss. xi, 122- Schubert, Pyrrhus, p. 20 f.) ; and I
would therefore likewise refer to him the apothegm of Euphranor

to the effect that 'his Theseus was fed on meat, but that of
Parrhasios on roses' (xxxv, 128). Miinzer has detected in the
words the latent reminiscence of an Aristophanic line preserved
in Diogenes on the authority of Antigonos ' (see Comm.), but this

^ Op. cit. p. 527. p. 95 (for Greek, see Comm.).

^ Antig. Kar. ap Diog. ii, 1 34 (
^ To say this, however,
is far from

Wilam. p. 98); ^av h\ StSaaxaKaiv admittingthe theory of OttfriedMuUer

Ttuj' irept HX&Twva KoX BiVoKparqv iri {Kunst-Archdol. IVerie, ll.p. 165 ff.),

8^ Hapm^aTrjv rbv Kvptivawv icare- lately revived by K^kule {Arch.

<j>p6vu, 'SriXTToiva 8' iTiBavpaKa' xai Jahrb. viii, 1893, p. 39 ff.), that the
TTore kptoTijBels Trepi aitrov dWo p.'iv original Greek of the Lysippian say-
ovS\v (lire irXiiv on (\ev9ipios. The ing was a slavish imitation of the
resemblance to the Lysippian phrase Sophoklean (Kekule, p. 45) —and the
is little more than formal and verbal. guales viderentur esse of Pliny a
' Among others by Vahlen in the clumsy misunderstanding of something
notes to his ed. of the /farfzVj (Leipzig, like oi'ous Ioikcv dvai. On the con-
1885), p. 265. trary, the viderentur is the very pith
* ' Further, if it be objected that of the apothegm, which conveys a
the description is not true to fact, the problem totally different to the Sopho-
poet may perhaps reply, —" But the klean.
objects are as they ought to be ": just ° Duridian authorship seems hinted
as Sophokles said that he drew men at by Diels, Arch. Anz. 1893, p. II.
as they ought to be drawn ; Euripides ' Ath. vi, 245 ; viii, 337.
as they are.' Tr. S. H. Butcher, ' I trust I am not misapprehending
Ixiv INTRODUCTION
is no proof that Antigonos is also responsible for the new turn
given to the phrase in the mouth of Euphranor.
There remains to note, with H. L. Urlichs^ and Miinzer'-*, that

Duris was presumably the source for sundry stories of art-com-

petitions preserved in Pliny. Their authenticity is suspicious, as

Jahn long ago maintained ^ because in all of them the competition

itself offered no interest whatsoever to the writer, but was merely

used — we may at once say invented — in order to bring great artists

of the same or adjoining epochs into presence, and often to point

some saying supposed to have been uttered on the occasion.
The animating idea is the same as in the story which represented
the young Lysippos venturing upon the higher paths of art at the
bidding of Eupompos. Such is the contest between Parrhasios
and Timanthes, already discussed in another connexion (above,
p. liv), where we are not even told the subject of the picture by
the latter artist the competition between Zeuxis and Parrhasios
;

with the curtain and the grapes {ib. 65) ; and the kindred anecdote
of Apelles' appeal from the verdict of human judges to that of
beasts (ib. 95).
The story of the four statues of Amazons made in competition

by four great artists for the Temple of Ephesos belongs to the

same series. The garb it borrows from the legend of the award of
the prize of valour after Salamis (see Comm.) sufiSciently betrays its

apocryphal character, even though it have a groundwork of truth.

There is the undoubted existence of four distinct types of Amazons,

similar in size and pose; and Furtwangler has lately made the
acute suggestion that the anecdote of the evaluation grew out of
the order in which four statues of Amazons by the said four
masters were exhibited in the Ephesian Artemision (see Comm.).
Certainly such an order of exhibition *, could it be proved, would
the rapprochements attempted on itfrom Greek art-writers Aug., De :

p. 5275. of Miinzer's article. Doctrina Christiana, ii, 8 Non enim :

^ Griechische Kunstschriftsteller, audiendi sunt errores gentilium super-

p.aSf. stitionum qui novem Musas Icniis
' Op. cit. p.
534. et Memoriae filias essefinxerunt. Re-
' Kleine Beitrdge, p. 289 f. fellit eos Varro, quo nescio titrum
' It may be worth pointing out apud eos quisquam talium rerum
here that the story of the Four Ama- doctior vel curiosior esse possit. Di-
4pns has a curious parallel, not, I be- citenim civitatem nescio quam, non
lieve, observed before, in Augustine's enim nomen recolo, locasse apud tres
explanation of the origin of the num- artifices ternasimulachra musarum,
ber of the Muses ; it is quoted on the quae in templo Apollinis dona poneret,
authority of Varro, who of course had et quisquis artificum pulchriora for-
 DURIS OF SAMOS Ixv

be a fine opportunity for imagining the rivalry of the four artists,

precisely as a joint inscription of (the Elder) Praxiteles and
Kalamis had given rise to some popular explanation, afterwards
elaborated by Duris or a writer of his stamp into the anecdote
recorded in xxxiv, 71, of the kind consideration of Praxiteles for
the artistic reputation of Kalamis— an anecdote, by the way, that
recalls the kindness of Apelles to Protogenes. Finally, the
competition between Panainos and a totally unknown Timagoras
(xxxv, 58), on the testimony of a carmen vetustum, of whose
content, however, no hint is given, looks suspiciously like fiction.
There is still one passage in conclusion where Miinzer (p. 535)
detects, I believe rightly, the influence or authorship of Duris.
This is the account of the women painters in xxxv, 147, '
woman '

being one of the most favourite Duridian themes '. Miinzer further
remarks that the painter Olympias is a namesake of the mother
of Alexander the Great, for whom Duris evinced a lively interest,'

as for every one connected with Alexander ; that Aristarete is the

daughter of Nearchos, who, as the namesake of one of Alexander's
generals ", would likewise interest Duris ; and that the three women
Timarete (xxxv, 59), Irene, and Aristarete, at once daughters
and pupils of their respective fathers, Mikon, Kratinos, and
Nearchos, are conceived too manifestly on the same pattern to be
above suspicion. Finally, the dancer Alkisthenes and the juggler
Theodoros, painted by Kalypso, are evident Duridian personages
they recall the BaviiaTovowi, Xenophon and Nymphodoros, of fragm.

44 ( = Ath. i, p. 19, f), where the clever tricks of Xenophon's

pupil Kratisthenes of Phlious are described. The analogous
formation of the names Alkisthenes — Kratisthenes, Theodoros
Nymphodoros, is certainly significant.
This closes the list of passages that may be attributed with any
certainty to Duris. It is most improbable that either Varro or
Pliny had direct access to his writings ; he seems so certainly the

authority of Antigonos for the statement concerning Pythagoras of

Samos (above, p. liii), and so many of the passages traced back to

masset ab illo fotissimum electa emeret. posuisse vocabula. Non ergo lupiter
Itaque contigisse ut opera sua quoque novem Musas genuit, sed tres fabri
illi artifices aeque pulchra explica- ternas creaverunt.
rent, et placuisse civitati omnes novem ' Cf. fragm. 2, 3, 19, 24, 35, 42,
atque omnes emplas esse, ut in Apol- 58, 63.
linis templo dcdicarentur. Quibus ' Ft. 24.
postea dicit Hesiodum poetam im- * Plut. Alex. 66, 73 and often.
Ixvi INTRODUCTION
Duris were likely to interest Antigonos from their purely anecdotic
character, that it is not unreasonable to assume that all the
Duridian stories we meet with in Pliny were brought in by Anti-
gonos, who had drawn largely from Duris for his Book of Marvels
(Miinzer, op. cit. p. 531). Antigonos presumably did not always give
the name of his authority; like Pliny and most ancient writers, he
would be willing enough to assume the credit of the greater part
of his information, and would only mention his authorities by name
in cases where the statements seemed to him to outpass belief.
So, too, Varro quoted the artifices qui condidere haec, in xxxiv, 68,
and again in xxxv, 68 (giving them here a second mention by
name), in cases where he felt he needed an excuse for a weak

explanation, or a warrant for an over-bold criticism. Thus it was

that, after passing through many different hands, the name of
Duris of Samos, preserved in xxxiv, 61 in testimony of the
incredible story that the great Lysippos of Sikyon had been wholly
a self-taught artist, has given us a clue leading us to assign, as I

believe, to their right author no inconsiderable portion of the

Plinian anecdotes.
At the same time the vindication of these tales for the Samian
on the nature of his art-writings.
historian throws considerable light
They reveal him as above all a biographer in spirit and not only
in form. He seeks to bring before his readers the individuality of
the man rather than the technical or aesthetic quality of his work.
For this purpose he employs popular traditions, giving to these
voces populi the literary form which was to secure them from
oblivion. In the attention he bestowed upon character-drawing,
realand fictitious, he was a true product of his age in its newly
awakened desire to ascertain the features of great men present or
past. The words of Pliny were as true of the third century as of
his own pariunt
: . . . desideria non traditos vultus, sicut in Homero
evenit: sculptors were not content to portray contemporaries
a Menander or a Poseidippos —but must needs discover and
a late posterity the likeness of Aisop, Archilochos, Epimeni-
fix for

des, nay of Homer himself ^ In many cases the monuments

are still there to show how nearly a deep intuition of the genius
peculiar to each personage portrayed might help to restore the
•image which no contemporary hand had traced. The same
occurred in literature the Peripatetics, Chamaileon of Herakleia,
:

' See the remarks of Wilamowitz, Antigonos -von Karystos, p.

149 ff.
 DURIS OF SAMOS Ixvii

or Dikaiarchos of Messana— to quote two out of a host —had

attempted to reconstruct the Hves of Alkman, of Alkaios, or of
Semonides. Duris himself had written a biography of Euripides ',

of which recent criticism has recovered at least one characteristic

fragment, which tells how Sophokles on receiving the news of the
death of Euripides clad himself in robes of mourning. When
Duris wrote his biographies of the artists he determined they
should be '
Lives '
in the most realistic sense of the word, refusing
to discuss the works divorced from the artists' personalities. It is

little wonder if in essaying to breathe back life into the persons of

Lysippos, of Apelles, or Protogenes, his vivid imagination and
strong powers of presentment led him, when historic facts failed,

to offer telling anecdote in their place.

We may feel impelled from the side of historical verity to echo
the complaint of Plutarch that Duris shows, even where not
misled by interest, an habitual disregard of truth'', but we are
none the less indebted to him for what is perhaps the most
enduring charm in the history of the ancient artists. The stories

we have been studying, like those countless others which enliven

the pages of Greek history, have their rise in a profoundly popular
instinct, in the desire to find expression, once simple and
at

striking, for distinguishing qualities of temperament or of workman-

ship. And in their graphic force, that power,' if we may borrow
'

from the words which Dionysios applies to the oratory of Lysias,

of '
driving home to the senses the subject of discourse ^' they

have entered into the very substance of our thought. While

every schoolboy is familiar with the tale of Zeuxis and the
grapes, a scholar such as August Boeckh could express his ideal

of the learned life in the words dies diem docet ut perdideris quant
sine linea transmiseris, or the orator Burke sum up the qualities of
that masterly state-paper, whose every stroke had been justified
'

by historic fact,' in the telling phrase Thus painters sign their

names at Co.*^

' Printed at the commencement of one allusion to Duris {Att. vi, i, i8)

Kirclihoff's ed. Berlin, 1867, vol. i, judges him more leniently.

p. viii. Cf. Schubert, ij/^r^aj, p. 16. 'Dion. Hal. de Lys. vii 8t;Va/«'s

^ Pericl, xxviii : Aovpt^ i^^v ovv ovb' tis vtt6 rds aitjOrjffds dyovffa toL Ktyo-
birov liTjilv avT^ rrp6ai(Tnv iSiOV iraSos /j-fva.

fiaSais Kpwruv t^i' diTifr]aiv iirl t^s *Burke, ^fl?-Ai(ed. 1823), vol. viii,
&\Tj9eias. . . . Cicero, however, in his p. 129 (Letters on a Regicide Peace).

e 2,
 Ixviii INTRODUCTION

IV. Literary Epigrams.

The literary epigram, at once descriptive of a work of art and
embodying its criticism or eulogy, was among the most fruitful

sources of information at the disposal of ancient writers upon art '.

It plays accordingly, as Otto Jahn first perceived ^, a considerable

part in Pliny's descriptions of pictures or statues, where it

becomes of the highest importance to the critic to detect it : for,

as it strongly coloured the Plinian narrative, so it has gone on to

this day, colouring our appreciation of ancient works of art, nay,
predisposing us in many cases to read into them intentions, which
are within the expressive range of poetry rather than of the plastic
arts. Pliny's own phrase describing what the Apellian Aphrodite
owed to the verses written in her praise remains true in greater or
less degree of all works extolled in epigrams : versibus Graecis tali
opere, dum laudatur, victo sed illustrato.
A first list of the Plinian passages based upon epigrams was
drawn up by Otto Jahn [loc. cit.), and afterwards supplemented by
Benndorf '- The subjoined list is compiled from theirs, but with
some few additions indicated by an asterisk.
1. — xxxiii, 156 Antipater (sc. Diodoros, see note) — qui Satyrum in phiala
gravatum somno conlocavisse verius quam caelasse dictus est.

Cf Anth. Plan. 248 :

Tov ^arvpov AiSSwpos eKoif^ifffv, oiiK eropevtrep'

fiv vv^rj^, kyepiis' apyvpos virvov ^x** *-

2. —xxxiv, 55 Polyclitus . . . diadumenum fecit molliter iuvenem . . . et dory-

phorum viriliter puerum.

(The epigrammatic qualification is so finely knitted to the

mention of the works that it must have been brought in at a very
early date^)

3. —xxxiv, 59 Pythagoras — fecit claiidicantem, cuius ulceris dolorem sentire

etiam spectantes videntur.

1 See in connexion witli the epi- = De AniAologiae

Graecae Epigram-
grams of the Anthology which deal matis quae ad artes spectant; diss,
with works of art the admirable essay Leipzig, 1862.
of J. W.
Mackail, Select Epigrams * '
This Satyr Diodorus engraved
from the Greek Anthology, p. 47 ff. ; not, but laid to rest ; your touch will
^cf. P. Vitry, &tude sur les Elpigr. wake him ; the silver is asleep.' Tr.
de PAnthol. Pal. qui contiennent la W. Mackail, op. cit. p.
J. 179.
description d'une auvre d'Art, in = Munzer,
o>. «V. p. 529. Dilthey,
Rev. Arch. xxiv. 1894, p. 315 ff. Rhein. Mus. xxvi, 290, first pointed
^ Kunsturtheile des Flinius, p. out the epigrammatic juxtaposition of
118 ff. the two works.
 LITERARY EPIGRAMS Ixix

Cf. Antk. Flan, iv, 113; 11. 1-2 :

o7Ba ^iKotcrqrrjV dp6aiv, Srt Traffi (paeivei

0X705 l^(/ /caJ Tots Trj\60i SepKOfiivOiS '.

*4. —xxxiv, 1^0 (Praxiteles) fecit et puberem Apollinem subrepenti lacertae corn-
minus sagitta insidiantem quem sauroctonon vocant.

Cf. the same or perhaps identical epigram as adopted by

Martial, xiv, 172 :

Ad te reptanti, picer insidiose, lacertae

Farce ; cupit digitis ilia perire tuts ^

5.' — ^xxxiv, 70 (Praxitelis) spectantnr et duo signa eius diversos adfectus expri-
mentia, flentis matronae et meretricis gaudentis. hanc putant
Phrynen fuisse deprehenduntque in ea amorem artijicis et mer-
cedem in voltu. meretricis.

The juxtaposition of the statues is purely epigrammatic ; in the

description of Phryne's portrait lurks perhaps a reminiscence of
Anth. Plan, iv, 204 (see Comm.).
*6. —xxxiv, 71 Ipse Calamis et alias guadrigas bigasque fecit se impari, equis
sine aemulo expressis.

The rhetorical point betrays the underlying epigram; the

Propertian Exadis Calamis se mihi iactat equis (Prop, iii, 9, 10)
is doubtless from the same source, for where should Kalamis

boast of his horses so well as in some epigram purporting to be

written by the artist himself?

7. —xxxiv, 74 Cresilas volneralum deficientem, in quo possit intellegi quantum

restet anim^e,
et Olympium Periclen dignum cognomine, mirumque in hac arte est
quod nobiles viros nobiliores fecit.

8. ib. 11 Euphranoris Alexander Paris est, in quo laudatur quod omnia

simul intelleganlur, iudex dearum, amator Helenae et tamen
Achillis interfector.

9. ib. 78 Eutychides Eurotam, in quo artem ipso amne liquidiorem plurimi

dixere.

^ '
I behold Philoktetes. His agony hatefulthan the Greeks was my maker,
is made manifest, even to those who a second Odysseus, who brought back
look on from afar.' The analogy tothe to me my woeful dire disease. The
Flinian description is pointed out by rock, my rags and blood and wound
Miinzer, /. c. In the notes I have fol- and grief, were not enough, but he has
lowed Brunn in quoting Anth. Plan. even wrought my pain in bronze.'
112 {where the omission of the name ' Pointed out by Miinzer op. cit.

of Philoktetes is perhaps the cause of p. 527, note i.

its unusual omission in Pliny) :
' More
Ixx INTRODUCTION
Cf. Antk. Pal. ix, 709 :

Eipiirav oii apn Sii,0poxov, iv tc fieeSpois

a\icv(j^ & rext'tTTjs iv irvpl \ova6,p.evov'

iraai ycip kv K&iKois vbaroi^ivos &fi(ptV€vevK€y

e« Kopv(pTJs Is aKpovs vypoparwv ovvxct^
a 5i rkxvo. Trora^ai avv^-n-iipuc^v a ris 6 irciffas

XaXxdy aajp^^etv vSaros vypSrepov ^ ;

*10. — xxxiv, 79 Lycius . . . fecit dignum praeceptore puerum sufflantem

languidos ignes.

The description of the 'dying fire,' which was of course not

represented in bronze, betrays the epigram.
11. —xxxiv, 79 Leochares aquilam sentimlem quid rapiat in Ganymede et cut

ferat parcentemque unguibus etiam per vestem puero.

Cf. Anth. Pal. xii, 221 :

STcfxc Trpos oXQkpa. Siov, avipxto Trai^a KO/u^ajv

aiere, ras 5i<pvits k/cinT&ffas irrepvyas'

trreixe Toy a^phv exaiv TavvfirjSea, f^rjde fif9eir]S
ritv Atbs ^Siaroy olvox^ov kvKikojv
(peiSeo 5* atpd^at Kovpov yap^ijvvxt rapffa,
fjiil Zei;s dhyrjari^ tovto ^apvv6fievos^.

12. — xxxiv, 80 Naucerus (censetur) luctatore anhelante.

The analogy to xxxv, 71, makes it probable that the anhelante
is from an epigram ; cf Benndorf, op. cit.

xxxiv, 81 Styppax uno celebratur signo, splanclinopte Periclis Olympi vernula

hie fuit exta torrens ignemque 07'is pleni spiritu accendens.

The last words, the insistence on the swelling cheeks of the

boy as he blows the fire, clearly point to an epigram. How far
removed the real 'Entrail Roaster' would be from the Plinian
description may be seen at a glance by studying the boy's statue
from the Olympieion at Athens, which has lately been brought,
with much probability, into relation with the statue by Styppax
(see Comm. on passage).
13.— xxxiv, 81 Silanion ApoUodoram fudit . . . nee hominem ex aere feeit, sed
iraeundiam.

(See Add. to the Comm. on the passage.)

^ 'Dragged by the artist through flowing than the Hoods ?

a bath of fire, the Eurotas seems fresh ^

Speed on to the heaven divine,
'

from the water and amidst his streams. go thy way, eagle, with the boy.
He bends to either side while water spreading either pinion wide. Speed
pours from all his limbs, and the drops on with beauteous Ganymedes, nor
fallfrom his head even to his feet. suffer the boy to fall who poureth
Art too hath joined in contest with sweetest cups for Zeus. Yet spare to
the river ah, who hath taught the
; wound the boy with thy crooked talon,
bronze to burst into waves more lest Zeus sorrow in grief thereat.'
 LITERARY EPIGRAMS Ixxi

14. — xxxiv, 88 Epigonus . . . praecessit in ... matri interfectae infante

miserabiliter blandiente.

(From an epigram similar to the one on the '

dying mother by '

Aristeides in xxxv, 98.)

15. — xxxiv, 141 Ferreus Hercules, qnem fecit Alcon laborum dei fatientia
inducius.
16. —xxxv, 59 (Zeuxis) fecit et Penelopen, in qua pinxisse mores videtur.
17. a. 69 (Parrhasius) pinxit demon Atheniensium argumento quoque in-
genioso. ostendebat namque varium, iracundum iniustum incon-
stantem, eundem exorabilem clementcm misericordem, gloriosum,
excelsum humilem, ferocem fugacemque et omnia pariter.
18. ih. 70 (Parrhasius) fueros duos, in quibus spectatur securitas et aetatis
simplicitas.

19. ib. 71 (Parrhasi) duae picturae nobilissimae, hoplites in certamine ita de-
currens ut sudare videatur, alter arma deponens tit anhelare
sentiatur.

20. ib. 94 (Apelles) pinxit et heroa nudum, eaquepictura naiuram ipsampro-

vocavit.

21. ib. 98 (Aristidis) oppido capto ad matris morientis ex volnere mammam

adrepens infans, intellegiturque sentire mater et timere ne
emortuo lacte sanguinem lambat.
Cf. Anth. Pal. vii, 623 :

"EXxe, TaKav, napd fxijTpbs bv oiiKeri fiaffrov d/icAfeis,

f\Kv(Xov varcLTLOV vdfia KaTa(pOifiivtjs'
tJStj yap ^t<pee(f(ri \i-rr6jryoos' d\Ad tcL fjiT]Tp6s

fpiKrpa Kal ftv 'Ai'Sjj iratdofcofxiiv efJiaSev^.

22. —xxxv, 99 (Aristides pinxit) supplicantem paene cum voce.

*23. ib. 99 (Aristides pinxit) anapauomenen propter fratris amorem.

(Cf. Anth. Pal. vii, 183, 184, and see H. L. Urlichs' note in
the Comm. on the passage.)
24. —xxxv, 106 (Protogenis) Satyrus— ^est, qnem anapauomenon vocant, ne quid
desit temporis eius securitati, tenentem tibias.

(Cf. Anth. Plan. 244.)

*25. —xxxv, 138 Antiphilus ^Kew ignem conflante laudatur ac pulchra alias
domo splendescente ipsiusque pueri ore.

I suspect an epigram from the forced point made in the de-

scription of the room which '

is in itself beautiful.'

26. — xxxvi, 21 (Praxitelis Veneris) eSSgies deafavente ipsa, ut creditur, facta.

(Cf. Anth. Plan, r 59-1 70.)
27. —xxxvi, 24 Cephisodotus . . . cuius laudatum est Pergami symplegma nobile
digitis corpori verius quam marmori inpressis.

' ' Drink, poor bahe, from thy taken her life, yet a mother's love
mother, whose breast thou shalt suck knows, even in Hades, how to care
no more ; drink thy last draught from for her child.'
her in death. Now has the sword
Ixxii INTRODUCTION
Cf. Herondas iv, 59 f. ^ quoted in the Comm. on the passage.

Besides the epigrams descriptive of works of art, we may note,

for the sake of completeness, the allusion to the epigrams on

Myron's cow (xxxiv, 57) and on the Anadyomene of Apelles (xxxv,
92) ; the epigram upon Zeuxis which lurks in the words ab hoc
{ApoUodord) artis fores apertas, Z£uxis . . . intravit in xxxv, 6
(see Comm.) ; the epigram in which Apollodoros reproached
Zeuxis with having not learnt — but stolen the art of his masters
(ib. § 62) J
finally the reference to the laudatory verses composed
by Parrhasios upon himself, discussed above (p. liv f.). In all

these descriptive passages it is evident that the writer has been

concerned to outstrip rather than to explain the artistic aim. We
are confronted by a series of pointed sayings, inspired indeed, or
they would miss their effect, by some quality actually existent in
the work of art, but using this quality as a theme to be expanded
freely into the fluidity of language, whereas the artist had been
forced to compress his conceptions within the limits imposed by
visible form. Whatever Euphranor's ethical conception of the
separate or conflicting traits in the character of Paris, he must
perforce combine and fuse them in the portrayal of one single
personage. The versifier, on the other hand, remains within the
limits of his art if he picks out the qualities suggested rather than
definitely indicated by the Paris of Euphranor, and embodies
these in a series of consecutive images : thus the Paris of the
sculptor will be converted by the epigrammatist from a unit into
a triad ; the compacted whole is resolved into the judge of the
goddesses, the lover of Helen, the murderer of Achilles— each
trait calling up in the mind of the reader a distinct sensuous
image, whereas the statue, however complex, called up only one.
Or, again, the epigram may catch at a purely accidental detail —
accidental so far as regards any ethical import — such as the
drapery which Leochares gave as a background to his Ganymede,
and interpret it to mean what it lay entirely outside the power of
the formative arts to express, — the eagle's care to avoid wounding
the boy. The achievement of artist and of epigrammatist is bound
to be different, because of the dissimilarity of the material with
which each clothes his thought. The question touches one of the

' ' Pray look at this naked child ; flesh palpitates in the picture like
if I pinch him can you not fancy I a warm spring'— (a< fantes calidi,
shall really hurt him Kynno? For the v. Crusius, orf /<;;:.).
 LITERARY EPIGRAMS Ixxiii

most difficult of all the problems suggested by the study of art,

the problem how far the language of form can be translated into
that of words, and vice versa. It could only be adequately treated
in context with the written Greek epigrams of the same class as
those we have been and with the various descriptions
considering,
in ancient literature, outside Phny, based upon such epigrams;
and this, after all, would be only one chapter of a vast discussion
that should embrace the literature, whether ancient or modern,
that aims at the analysis of works of art. But I have touched
upon it here only as a passing protest against the practice, still
too common, of searching in what were often but plays of fancy
for definite evidence concerning the intention to be conveyed by

a work of art. The modern scholar shows himself scarcely less

credulous in this respect than Pliny himself, who introduced
most of his epigrammatic descriptions by the intelligere, which, as
we learn from Cicero, was the special term used of the insight and
criticism of theman who knows \
These descriptive epigrams were doubtless interwoven with the
original Xenokratic fabric that underlies the Plinian account at
different times. We have seen that some — perhaps even a large
number —were certainly due to Antigonos of Karystos. Others may
be due to the Greek artist and writer upon art, Pasiteles of Naples
(p. Ixxviiff.); Varro or Mucianus may have brought in others;
nor need we decide whether Varro, or Pliny, or another Roman,
was first guilty of the comic blunder arising from the attribution
in xxxiv, 57 to the sculptor Myron of the little monument, sung
by two poets of the Anthology, which the girl Myro had raised
to her pets, a cricket and a grasshopper '.

' Brutus, 184 etenim necesse est, wily craft of the servile character.'
qtii ita dicat, ut a multitudine pro- Possibly the notice in xxxiv, 88 of
betur, eundem doctis probari ; nam Nikeratos' group of Alkibiades and
quid in dicendo rectum sit aut pravum, his mother '
Demarate sacrificing by
ego iudicabo, si modo is sum, qui id torchlight' belongs to the same class
possim aut sciam iudicare qualis
: (cf. note 2 on p. xliv). The descrip-
vero sit orator ex eo, quod is dicendo tion in xxxiv, 93 of the Hercules
efficiet poterit intelligi. See O. Jahn, 'wearing the tunic,' considered by
loc. cit. p. 120. Benndorf (p. 55) as epigrammatic,
^ The list of works whose descrip- seems inseparable from the notice
tion is based upon literary epigrams of the three tituli on the statue,
should further include the notice in and is presumably an observation of
xxxiv, 79 of the group by Leochares Pliny's own, not borrowed from any
of the slave-dealer Lykiskos and a special source,
boy on whose
'
face may be read the
Ixxiv INTRODUCTION

V. Heliodoros of Athens {fl.

igo B.C.).

Heliodorus qui de Atheniensium anathematis scripsit is cited in

the Indices of authors to Books xxxiv and xxxv ; the mention of

his name in the Index to Book xxxiii, which contains no material
that could be derived from him, must be looked upon as an
interpolation. Till recently the literary personality of Heliodoros
remained so shadowy ' that all attempts to recover traces of him
in Pliny had proved ineffectual I Now, however, that Bruno KeiP
has succeeded in proving Heliodoros to be the source for the
periegetic portions in the Pseudo-Plutarchian Lives of the Ten
Orators, it has become possible to ascertain also the extent of
Pliny's debt — and it remains very small —to the Athenian
periegete.
The interest of the results attained by Keil lies almost entirely
outside Pliny ; it will suffice to indicate them briefly. The passage
in the Life of Hypereides (849 c) concerning the burial-place of
the orator itpo tmk 'lititahav nvKav, &s 0r;crii» 'HXtoSmpor iv Ta rpira
wept Mvrjfidrav forms the basis of the inquiry. The reading of the
MSS. 'HXid8(Bpor, which Ruhnken had unnecessarily altered to
AidSfopor, has been rightly retained in this place by both Keil (I.c)

and by Bernadakis in the new edition of the Moralia (vol. v,

p. 193). For not only does the date of Heliodoros* accord
precisely with the date required by certain other statements of
periegetic nature contained in the Lives (cf. in particular
Lyk. 842e=fr. 5* KeiP), but the information conveyed in these
dateable fragments and in the remaining periegetic passages
scattered through the Lives is of a strictly homogeneous
character, which Keil defines as follows (op. cit. p. 237, cf. p. 201) :

'The first interest of monuments; he gives

Heliodoros is for extant
details concerning the nature of the monument, its material, its
locality and present condition then follow in natural sequence ;

statements of an historical character, such as the original con-

dition, change of locality, occasional details concerning cost,
' Seven fragments are collected by ' Hermes, xxx, 1895, pp. 199-240.
Miiller, F. H. G. iv, p. 435. See * After Antlochos Epiphanes (b. C.
also Susemihl, Geschichte d. Al. Lit. 175-164), cf. Athen. II, p. 45 c.
i, p. 692 f. ' KaJ iartti avTav (Lyknrg. and his
' E. g. the attempts of Wachsmuth, children) tA lairiiiaTa avrixpii T^i
Stadt Athen, i, p. 36, note 2 ; on the IlaiajKtas 'Afli/i/as iv ry tlLi\av6iov toS
difficulty of the Heliodoran question <pi\o(T6tl>ov xfjua (date of Melanthios
see Brieger, De Fontibus, p. 33. circ. B.C. 150, Keil, /. c).
 HELIODOROS OF ATHENS Ixxv

artists, or donors. These statements are corroborated by the

epigrams and inscriptions . . . relative to the monument de-
scribed \'
Now if we turn to Pliny we shall find some four passages
which bear this peculiar Heliodoran stamp. Three occur in
Book xxxiv, in the first alphabetical list of the bronze-workers
one in Book xxxv, towards the close of the main account of the
painters. In xxxiv, § 74, the passage Cephisodorus Minervam
mirabilem in portu Atheniensium et aram ad femplum lovis Serva-
toris in eodem portu, cui pauca comparantur (sc. fecit) has long

been admitted by a number of authorities ', though on different

grounds, to be from a source other than that of the main account.
It will repay careful analysis. We know from Pausanias (i, i, 3)
that the 'Minerva' and the 'Jupiter' belonged to the same
temple, namely to the Aio-cor/ypioi', where Zeus and Athena were
worshipped respectively as Smrijp and SmTcipa". Now, if we
examine the Plinian passage we note at once a certain looseness
of construction, a certain hesitancy in the wording ; it is as if
Pliny, or the author from whom he quotes, were not fully

conscious — or at least fully persuaded — that the 'wondrous

Athena which was to be seen
'
'
in the harbour of Athens '
were
really in the same place as the altar, which was in the same city,
'
temple of Zeus the Saviour.' I accordingly believe that
in the
we have here the juxtaposition of two statements derived from
separate sources. The words Cephisodorus Minervam mirabilem
in portu Atheniensium would belong to the main account the —
mention of the Athena, which was bronze {^oKkov fiev afxcpoTepa ra
ayaXfjiaTa), being in place in a history of bronze-sculpture — while a
laterhand introduced from another source the mention of the ara,
another work by Kephisodoros. Now this altar, which would
naturally be marble and be decorated with reliefs, is obviously out
of place in a history which was only concerned with works in the
round and in bronze ; this discrepancy, however, was unnoticed
by the art-writer (Pasiteles (?), p. Ixxx) who made the addition.

' Cf., in particular, Isokr. 838'' pieces, p. 145 ; Oehmichen, Plin.

(= Keil, fr. 4''), the inscription from Studien, p. 151.
the statue of Isokrates by Leo- ' See Comm. p. 60 ; cf. Liv. xxxi,
chares, which Timotheos put up at 30, 9. The whole literature on
Eleusis. the passage, both ancient and modem,
* Wachsmuth, Stadt Athen, i, p. given by Hitzig and Bliimner, Fau-
36, note 2; Furtwangler, Master- sanias,^. i2oi.
Ixxvi INTRODUCTION
The connecting link was afforded by the name of Kephisodoros.
Nor was any special attention bestowed upon the fact that the ara
which was now mentioned stood not only in eodem portu, but
actually in the same temple as the Athena. That the addition
Heliodoran seems probable from the precision with which
itself is

the locality of the altar is noted {ad temflum lovis Servatoris),

whereas the Minerva was simply cited as being in portu Atheni-
ensium. The altar moreover — doubtless itself an avddriaa — was
a likely object to be included in a work de anathematis.
Close by the notice of Kephisodoros occurs the second passage
detected as Heliodoran by Keil. The statement in xxxiv, 76 that
'
Demetrios made a statue of Lysimache, who was priestess of
Athena for sixty-four years,' has a precision of detail, due to the
fact that the years of Lysimache's priesthood were taken from
the inscription on her statue (see Comm.), unlike anything that
meets us in the main account, where such detail is alien to the
nature of the inquiry.
With these two passages recognized as Heliodoran by both
Keil and Miinzer ^
I incline to associate a third, claimed for
Heliodoros by Wachsmuth ^, but rejected by Keil (/. c). The
passage (xxxiv, 72) concerning the 'Lioness' of Amphikrates,
whose name was doubtless taken from the inscribed basis,

belongs essentially to a book de anathematis, and accordingly to

Heliodoros, one of whose works specially described the monu-
ments of the Athenian Akropolis (n-epi Tr\s 'ABrji/rjcnv aKpoTroX^as, fr. I—
3 Miiller). At the same time, it must be admitted that the
story related in connexion with the monument has, in its Plinian
form, a more imaginative flavour than we find in any of the accre-
dited Heliodoran fragments or in those more recently recovered
by Keil. It is possible, therefore, that only the kernel of the
passage is Heliodoran, and that the anecdote itself was expanded
under the influence of other sources ^

' "/• "'• P- 541- from the same source as Pliny, while
' loc. cit. The Heliodoran author- the words of Pausanias (i, 23, 2),
ship seems admitted by Gurlitt, Pau- ^€701 tk ovk Is avyypacpiiv irpoTipov
samas, p. 96. seem to indicate that Pausanias
ij/covTa,
= It is noteworthy that the name of had the story merely from hearsay ;

Amphikrates is preserved only in moreover, he has no allusion to the

Pliny. As regards the mention of the animal's tonguelessness. The story,
statue and the anecdote attached without mention of the statue, recurs
thereto,Plut.,Gff>7-«/. 8, andPolyainos, once again in Pliny (vii, 87), and
Sirategem. viii, 45, appear to draw is told by Athen., xiii, 596 f.
 PASITELES OF NAPLES ixxvii

Wereturn to safer ground in the passage in Book xxxv, claimed

for Heliodoros by Keil. He argues that the sentence (§ 134)
pinxit (i. e. Aihenion) in templo Eleusine Phylarchum et Athenis
frequentiam quam vocavere syngenicon is marked off from the rest
of the account of Athenion's pictures by the careful notice of
locality, a special Heliodoran characteristic, while the rest of
the enumeration, being resumed with item, points to the juxta-
position of different sources. Both the '
Phylarchos ' and the
'
syngenicon,' moreover, being votive offerings, fall within the
range of the de anathematis.
As already hinted, it seems probable that these additions from
Heliodoros to the older text-books of Xenokrates and Antigonos
were made by Pasiteles, the Plinian author whom we pass to
consider next.

VI. Pasiteles of Naples.

This curiously many-sided man *, at once worker in marble, in

ivory, and who was a careful student of animal life,
in bronze,
who modelled and chiselled, who could raise a chryselephantine
statue or make the design for a silver mirror, and who was the
master of a considerable school, is known to us only from Pliny
and from one mention in Cicero {de Div. i, 36, 79). His date
is given by the former (xxxiii, 156) as circa Pompei Magni
(b. 108 B.C., murd. 48 B.C.) aetatem. He received the right
of Roman citizenship in 88 b. c. (xxxvi, 40, where see Comm.),
at a time when he had presumably attained to manhood ^ if not
yet to fame. Of his five volumes concerning famous works of
art [quinque volumina scripsit nobilium operum in toto orbe, xxxvi,
40) we may expect to find traces in Pliny's work, where a
distinguished place is assigned to him in the Indices of authors :

in the Indices to xxxiii and xxxv he heads the list of Greek

writers, in the Index to xxxiv he closes it ; for xxxvi he appears as
sole Greek authority. Brunn's researches have proved that a
writer appearing in so prominent a position must be a main

See Jacobi, FleckdserCs Jahrb. 1873, ' The fullest account of Pasiteles
p. 367 f. Gurlitt, he. cit.\ Kalk-
; is still that of Kekule, ZJze C?-;.!//* (^ej

mann, Pausanias der Perieget, p. 52, Kiinstlers Menelaos, 1870, p. 11 ff.

note I ; Reisch, Weihgeschenke, p. 13, see also Helbig, Untersuchungen

note I. Grote {Ilist. iii, p. 332) Uber die campanische Wandtnalereij
inclined to accept the story of p. 10 f. ; Wickhoff, Wiener Genesis,
Leaina, but took no notice of the p. 26 f.

monument. " Kekule, op. cit., p. 1 1 f.

Ixxviii INTRODUCTION
authority —yet there is no writer so difficult to lay a definite hold
on as Pasiteles, when we come to analyze the Plinian text. The
only passage (xxxvi, 40) where he was thought to be cited by
name for an expression of opinion has fallen away before
Furtwangler's criticism : the reading admiraior et Pasitelis must
be restored in place of the unsatisfactory admiratur et Pasiteles

of the editions '- The attempt of Brieger ^ to detect Pasitelean

authorship in passages betraying periegetic interests or points of
view, and that of Otto Jahn ' to detect it wherever a work of art was
qualified by the epithet nobilis, have likewise been disposed of
by Furtwangler, whose own association of Pasiteles, however,
with all the more properly artistic criticism in Pliny is in-
adequately based upon the fact that Pasiteles was an artist, since,
as we have seen, he only shared that qualification with Xenokrates,
Antigonos, and others. Nor are there any accredited fragments
of his writings which could serve as clues. We are left, in order
to account for his singular position in the Indices, with the sole
alternative, already indicated by Brunn *, of accrediting him with
a final and wholesale working up of the old Greek Treatises upon
art into his own five volumes. That Pasiteles should thus have
elected to return to the Treatises of Xenokrates and Antigonos,
rather than apply himself to formulate fresh theories and judge-
ments, accords admirably with his artistic leanings he created :

no style of his own, but turned back to Greek models at times —

simply copying them, at others adapting or combining them
for the presentment of a new subject ". Even as we doubtless
owe to him and his school ° not a few of those copies which
have rescued Greek statues from complete oblivion, so we may
owe it to his reverence for the art-literature of the Greeks that
some part of it has filtered down to us through the subsequent
medium of the Roman authors. Thus Varro, and Pliny after
him, would quote, as their manner was, the names of Xenokrates,

' Furtwangler, Plinius und seine 1890), p. 134 f. ; Hauser, Die neu-
Quellen, p. 40 f. attischen Reliefs, p. 182 ; cf. the
' De Fontibiis, p. 36. interesting summary of Wollers,
' Kunsiurtheile,^. 12^. Jahrh. xi, 1896, p. 3 f, and now
* Sitzungsberichte der Munchener Furtwangler, Staitienkopien im AUer-
Aiademie (phil.-hist. Classe), 1875, thum, p. S44 f.
P- 313- " For Stephanos, pupil of Pasi-
'-
On this point see especially teles, and Menelaos.pupilof Stephanos,
Furtwangler, Eine argivische Bronze see Commentary on xxxvi, 33.
(50, Winckelmannsprogramm, Berlin,
 PASITELES OF NAPLES Ixxix

of Antigonos, and other Greek writers, at second or third

hand^ And that Pasiteles himself should chance not to be
quoted in the actual text, for any of the additions which he
made, is natural we suppose that he gave merely an
enough if

uncoloured enumeration of new material, unaccompanied by

striking or disputable comment. For it is clear, if we inspect
the cases in which authorities are cited in the Plinian text (xxxiv,
mention is in no wise determined by the
6i, 68, &c.), that the
modern conscientiousness in such matters not even by a senti- —
ment of honour among thieves but by the occasional wish to —
disclaim responsibility (cf. p. Ixvi). Pliny, at any rate, thought it

sufficient to acknowledge the debt which he owed indirectly to

Pasiteles, whom he found cited as main Greek authority in Varro,
by assigning him the leading place in the Indices, a place corre-
sponding to that which he doubtless occupied in the Varronian
lists of Greek authors ^ Varro seems to have marked his debt to
Pasiteles by a general complimentary allusion to his productiveness
both as writer and artist (xxxvi, 40). The quae fecisse nominatim
non refertur is an addition by Pliny, who, not seizing the precise
intention of the passage, expected to find the works of Pasiteles
enumerated singly in this particular connexion. He forgets that

just above he has mentioned on Varro's authority the gold-ivory

Jupiter in the temple of Metellus; Varro himself, who was a
contemporary and possibly a friend of Pasiteles ', must have
known his works well.

To Pasiteles, moreover, may be traced almost certainly one

important extension of the original Greek treatises. These
terminated, as we have seen (p. xxi), with 01. 121, a date which,
though purely accidental, was accepted by subsequent writers

' That the name of Antigonos naeo —Menandris Prienaeo et Hera-

reached Pliny only through Pasiteles cleote with the Varronian item Am-
has been suggested by Wilamowitz, philochus Atheniensis . . . Menandri
Antigonos von Karystos, p. 7. duo unus Prienaeus alter Heracleotes.
^ For Pliny's method of compiling Brunn (de Indicibus, p. 48) coa-
long lists of authors from Varro see in jectures that the nine Greek writers
especial the Index to Book viii; it con- vepl fifXtTovpyixd, ladex to Book xi,
tains the names of twenty-nine Greek were taken straight over by Pliny
authors, not one of which is cited in from the lost work of Hyginus ; cf.
the text of the work they appear to
; also Brunn, p. 50, and F. Aly, Zur
have been taken bodily over from Varro, Quellenkritik des dlteren Plinius,
Re Rust. i. 1, 8, Pliny even adopt- 1885, p. 7 ff.

ing for a long stretch the same order ^ Kekule, p. 17.

of enumeration ; cp. Amfhilocho Athe-
Ixxx INTRODUCTION
as the close of a period of art. It was probably Pasiteles who,
while preserving this date as the lower chronological limit for
Greek art, brought in the mention of the revival in 01. 156
(xxxiv, 52)^- This revival seems connected with the works of
art and decorations executed for the buildings of Metellus, for

which at a later date Pasiteles himself had made a Jupiter in

ivory and gold. But if Pasiteles be the author of the additions

to the chronology of the statuaries he must also be credited
with the similar extension of the history of the painters, to
include those who flourished from 01. 156 onwards (xxxv, 135)''

To the actual contents of the five volumes nobilium operum

we have no clue, but from their number a certain .vidth of
range may reasonably be argued. The design of Pasiteles was,
we may conjecture, to give a general survey of all the arts of
antiquity, rather than, like Xenokrates, to develop a definite
scheme in relation to the department of art in which he was
himself engaged, or which came within the sphere of his personal
interest. We may therefore tentatively attribute to him — at any
rate without violating any ascertained principle upon which he
worked —the otherwise unallotted information in the early parts
of xxxiv concerning bronze as used {a) for furniture, (b) for

temple ornaments, (c) for statues of the gods, [d) for statues of
mortals ; each category is linked to the following by the purely
artificial conception of progress from the less to the more noble.
Under these headings the Roman authors afterwards fitted in,

as best they could, fresh material concerning Roman art, com-

mitting themselves in the process to singular contradictions"
Statuary proper, moreover, was further divided into colossal
images and lesser images (§ 49). These artificial categories seem
likely enough to have been adopted by Pasiteles as a convenient

mode of tabulating his vast material. Thus he would further

break up the old Greek Treatises into a chronological table and
an alphabetical list (above, p. xxii), into which new names
or works of special merit were introduced from Heliodoros
or other sources, only the insignes being reserved for separate
treatment. New lists were appended of these it is significant ;

that the first comprises almost solely the names of artists who
were also distinguished for their silver-chasing, a branch of
1 Munzer, op. cit., p. 538; cf. ^a>-£--4. p. 135, note i.

Comm. on xxxiv, 52, 1. 4. » Cf. Miinzer, p. 501.

2 Munzer, I.e.; Robert, Arch. * Cf.B.KeU,^«/-»j«xxx,i895,p.226.
 PASITELES OF NAPLES Ixxxi

art in which Pasiteles himself specially excelled. Indeed,

with regard to the account of the silver-chasers themselves in
xxxiii, 154-157, failing information concerning the unknown
writers Menaichmos ^ and Menander '', who appear as authorities
in the Index to Bk. xxxiii, or any clue to guide us here
to Antigonos, Pasiteles must, for the present, be accepted
as authority for the whole passage, with the sole exception of
the subsequent interpolations and additions commented upon
in the notes.
In Bk. XXXV, again, it may be Pasiteles who divided the
painters into two classes, according as they painted in tempera
(53-111) or in wax by the process called encaustic (122-149),
and who elaborated the curiously artificial theories (§ 149) as to its
development. The latter recall the conventional notions of
artistic progress unfolded at the commencement of Bk. xxxiv;
they are equally devoid of that apprehension of a living growth
within a living organism which, in spite of all blunderings, never
seems to have deserted Xenokrates. In his written works, as in
many of the copies of Greek statuary attributed to him, Pasiteles
had caught the sense but not the spirit of the masters he so
zealously emulated. Lastly, he arranged the painters of second
rank (§§ 138-145), those of third rank (§ 146), and the women
painters (§ 148) in three closing alphabetical lists.

That the account of modelling (xxxv, § 151 f.) went through

his hands is clear from the exceeding stress he laid upon the
indispensable function of modelling in every branch of the
plastic arts ; his opinion on this subject, quoted by Varro, was
probably the main addition Pasiteles made to the original
Greek Treatise. That Pasiteles would leave the account of
the modellers prefixed to that of the statuaries in bronze is

evident from the connexion he established between the two,

Jilasticen matrem caelaturae et statuariae sculpturaeque dixit. It
has already been noted (p. xxxv) that the exigencies of his plan
compelled Pliny to transfer the account to its present awkward
position.
Pasiteles is the last writer upon art, properly so called, whose
name meets His comprehensive work
us in the pages of Pliny.
proved not only a rich but a convenient store for the Roman
encyclopaedists. Above all does he seem to have been excerpted
' Above, p. xl, note i.
''
Only known through Pliny ; cf. Susemihl, i, p. 524, note 47.

f
Ixxxii INTRODUCTION
by Varro, whose extracts from Pasiteles, altered and re-adapted to

his own purposes by Pliny, have thus survived down to our own
day.

VII. Varro (116-28 li. c.)— Cornelius IVepos (circ. 99-24 b. c.)—
Fabius Vestalis.

The first step in Plinian criticism went from Pliny back to

Varro as authority for the bulk of the history upon art. In the
light of a clearer analysis, Varro has fallen again into a subor-
dinate place, overshadowed no longer indeed by his debtor
Pliny, but by those earlier authorities to whom he was in his turn

indebted. By the emergence now into a certain definiteness of

the Greek authorities : of Xenokrates and Duris, with their very

distinctive histories, the one of art, the other of the artists ; of

Antigonos in whom and even antagonistic
this uncongenial
material was worked up into a singular union and of Pasiteles, ;

who yet further manipulated, rearranged, and amplified it, the

Roman Varro is reduced from his position as authority to the
humbler office of final intermediary. Though he is undoubtedly
the author whom Pliny quotes most frequently in his account of
the Artists ^, as generally throughout the Historia Naturalis,
yet any discussion of his literary or scientific personality would
be foreign to the present enquiry^. It isperhaps fortunate for
his great reputation that so few of his voluminous writings have
survived : the criticism of their comparatively meagre fragments
will, for the world at large, always be outmatched by that
picture of his learning which we owe to the genius of Cicero
{Acad. Post, i,
3, 9), who as a fact neither loved nor admired him,
but who, in order to secure by a counter-compliment the
gratification of his own vanity, was ready to flatter the ttoKv-
ypa(j)ii>Taros homo " Neither in the great list of his works preserved
by Jerome, nor outside it, do we come upon traces of any work
exclusively devoted to the history of art. The probability is that
in the case of Varro, as in that of Pliny, this history formed but
1 xxxiv, 56; XXXV, 113, 136, 154, sen, vol. Ill, p. 602 ff. On Varro's
J55 ff- xxxvi, 14, 17, 39, 41
; ; cf. compilatory methods see the just
Furtwangler, Flinius, p. 56 ff. estimate of G. Boissier, £tude sur
' For Varro, see especially Teuffel, la vie et Us ouvrages de Varron, p.
Geschichte der Romischen Literatur, 27 ff.

5§ 164-169, and the sketch in Momm- * Cic. Ep. ad Att. xiii, 18.
 VARRO Ixxxiii

an episode of a larger work, such for instance as the section on

'Human Affairs' in the 'Antiquities.' Further, we know from
extant fragments ^ that various notices of artists were scattered up
and down a number of Varro's lesser works.
It only remains to indicate the few and comparatively insigni-
ficant passages which we know, in most cases from Pliny's express
mention of him, to be in a more special sense Varronian, for
which Varro is, so far as we know, the final and sole authority.
Even these I shall be content to summarize very briefly,
apologizing for a brevity that may seem disproportioned by
reminding the reader that till lately the disproportion has been
all to the score of Varro, and that as a fact the value of the
Plinian sources increases in the order, not of their nearness to
Pliny, but of their approach to the distant fountain-head.
Varro seems occasionally, as in the passage (xxxiv, 6g) on
Praxiteles, to have modified and doctored the Greek account
(above, p. xxii) so as to suit the Roman taste. Occasionally also
he brought in parenthetical scraps of interesting or curious infor-
mation; for instance, to the statement in xxxvi, § 14, that the
archaic sculptors worked in marble he tacked on the truly
Varronian etymology of the word lychnites (see Comm.). For the
rest, his additions mostly express his personal opinion, or retail
his personal knowledge, in many cases, of contemporaries. Thus
from PUny's paraphrase we learn that to the account he borrowed
from his Greek authors of the Nemesis at Rhamnous (xxxvi, 1 7)

he added a sentence expressive of his own admiration of the

statue, which he had doubtless seen during his stay at Athens.
Thus too his mention of the lady artist laia of Kj'zikos, a friend
of his youth, is adjoined to the lists of women painters (xxxv, 147).
In like manner he praises the marvellously naturalistic modelHng
of fruits by another acquaintance, Possis (ib. 155); this is followed
(}b. 15s) by the laudatory notice of the friend of Lucullus, the
Athenian Arkesilaos— who may well have been known to Varro
and of Pasiteles (above, p. Ixxix). Further, it appears from § 154
that he had combined the Greek account of modelling, as he took
it from Pasiteles, with some account of the art in Rome, and in

this same connexion of modelling, though scarcely in its present

context, he had given yet another reminiscence of his Athenian
When the whole of the Varronian siderable traces of lost Greek writings
fragments dealing with art-questions are certain to be revealed; see e.g.
are collected and analyzed, con- Ling. Lat.'vii,^,\2; ib.Sx.,\i.
fa
 Ixxxiv INTRODUCTION
visit in his explanation of the term Ceramicus. Two statements
are still more he mentioned that he had once
closely personal :

possessed (habuisse) a bronze figure by the silver-chaser Mentor

(xxxiii, 154), and a marble group of a Lioness and Cupids by

Arkesilaos (xxxvi, 41). From his use of the past tense it has
been justly surmised that Varro had lost these treasures at the
time of the proscriptions of b. c. 43.
It is evident that Varro is the authority for both the genre
pictures by Peiraikos and the huge pictures by Serapion, as
well as for the portraits by Dionysios (xxxv, 113, 114). All three
artists are placed antithetically to one another, and moreover, as

we learn from § 148, they were evidently all three contemporaries

of Varro. Upon these follows the mention of Kalates, a painter
only once again mentioned in literature, namely in Varro's Life
of the Roman People (fr. i Keil). Lastly, it is at least a signi-
ficant coincidence that, while the pictures of Antiphilos mentioned
by Pliny {ib. § 1 14) were either inside or in the neighbourhood
of the Gallery of Pompeius, the same painter is mentioned in
Varro's Treatise on Rustic Affairs (iii, 2, 5), in that part of the
dialogue which is supposed to take place b. c. 54, a few months

after the dedication of the theatre and the Gallery of Pompeius

in the Field of Mars ^- It shows, at any rate, that Varro, writing
after his eightieth year, was still interested in the pictures of the
Egyptian painter, whom he may have discussed in a previous
work.
To Varro likewise Pliny owes, as appears from xxxv, 136,
a number of notices of the high prices paid for works of art
mostly pictures. Varro had apparently collected together from
his Greek authors a number of these instances, and had at the
same time given, for the benefit of Roman readers, the Roman
equivalent of the Greek talent : hence the takntum Atticum ^VI
taxat M. Varro {loc. cit.) of Pliny. Three of the works of art
which obtained specially high prices are mentioned together in
vii, 126 (where, however, there is no reference to Varro's
evaluation
of the talent), and again separately at different parts of the
account of the painters: thus the price paid by Attalos for
the Dionysos of Aristeides of Thebes is given again twice in
'
'

xxxv, 24 and 100; the price, 'its weight in gold,' of the picture
by Boularchos, ib. 55 ; lastly, the price paid by Caesar for the
'Aias' and the '
Medeia '
of Timomachos, ib. 136". To these
' Miinzer, p. 541. 2 Miinzer, /. c.
 MUCIANUS Ixxxv

undoubted instances of Varronian authorship I incline to add as

a fourth the notice of the price paid for the '
Diadumenos of '

Polykleitos (xxxiv, 55).

Cornelius Nepos, who at one time (e. g. Furtwangler, Plinius,

p. 25) was credited with the anecdotic portions in Pliny, which
recent criticism has gradually but surely traced back to Duris,
is mentioned in xxxv, 16 as Pliny's authority for the existence
of an early Greek painter Ekphantos, who accompanied the
Corinthian Damaratos in his flight to Italy. Presumably, therefore,
Pliny also obtained from him the mention of the Corinthian
potters, also companions of Damaratos (ib. 152). These extracts

may be from the same work of Nepos, dealing apparently with

Roman customs, from which Pliny has citations in other parts of
the Historia (ix, 61, 136 ; x, 60, &c.) '.

For Fabius Vestalis, qui de pidura scripsit (Index, xxxv),

and who possibly had also written on statuary and sculpture,
since he figures in the Indices to xxxiv and xxxvi, not even the
acuteness of Miinzer has been able to recover one single fragment
out of the Plinian history. He is entirely unknown^, save for
the references in Pliny ' (see Addenda).

VIII. G. Licinius Mucianus (date of birth unknown ; died before

B. c. 77, cf Plin. xxxii, 62).

To the History of the Artists which he borrowed from Varro,

Pliny made one notable group of additions from the work in
which his contemporary G. Licinius Mucianus, ter consul'^, had
published the more or less trustworthy observations compiled
during a prolonged sojourn in the East. These additions concern
the works of art of the coast cities of Asia-Minor and the adjacent
islands, a region that had practically lain outside the ken of
the Greek art-writers Xenokrates (cf p. xxi) and Antigonos '', and
after them of Pasiteles ^

' Miinzer, p. 542 f. ' We must except, of course, the

^ Teuffel, § 267, II. traditions derived by Antigonos from
' Indices, vii, xxxiv-xxxvi cf. vii, Duris concerning the island-schools
213. of the Aegean.
* Cited Indices to xxxi, xxxiii, ^ Pasiteles, so far as we can tell,

xxxv, xxxvi, and repeatedly in the seems not to have enlarged the geogra-
body of the Historia (see Detlefsen's phical range of his predecessor, except
Index). for the notice of the Greek artists in
Ixxxvi INTRODUCTION
Mucianus, coming from the South ', would first encounter .the
civilization of the Aegean in Rhodes (v, 132 ; xix, 12 ; xxxiv, 36)

of the islands which he visited, Delos (iv, 66), Syros {ib. 67), and
Andros (ii, 231) lay furthest to the West, Samothrake (xi, 167) to
the North ; along the coast proper he came at least as far as

Kyzikos (xxxi, 19). Pliny not unfrequently introduces the notices

of works of art extant within this geographical district by such
words as hodie or nunc, showing that he is quoting from a con-
temporary or recent authority. Finally, we have also to guide

us, in our search for the information borrowed by Pliny from

Mucianus, our knowledge of the man's superstitious credulousness,
of his keen interest for everything marvellous or miraculous".
The greater number of the be traced back to additions to
Mucianus have been detected by Leopold Brunn in an exhaustive
dissertation', and accepted as Mucianian by the later com-
mentators of Pliny *. The following list of the passages derived
from Mucianus in the art-books follows a geographical order
from south to north.

I. Rhodes.

LiNDOS. That Mucianus visited its temple of Athena and

noted its treasures and curiosities in detail, appears from xix, 12,
where Pliny, specially using the word nuperrime, describes on the
authority of Mucianus the cuirass of the Egyptian king Amasis,
there preserved ; each thread in this cuirass was composed of
three hundred and sixty-five strands ; Pliny adds that Mucianus,
who had verified the fact, had remarked that '
almost nothing was
left of the cuirass owing to these frequent verifications ^' Hence
the following descriptions of works of art in the same temple
of Lindos have been justly referred to him °-
I. xxxiii, 81 : a cup, with the strange story attached to it that

Rome employed on the buildings of ' De C. Licinio Muciano, Diss.,

Metellus. Leipzig, 1870.
' Miinzer, op. cit., p. 544. ' Cf. Furtwangler, Plinius und
'^
E. g. he was in the habit of wearing seine Quellen, pp. 52-56; Oehmichen,
rotind his neck a fly tied
up in a linen Plinianische Studien, pp; 141-149.
rag as a remedy against ophthalmia, "... Quod se expertum nuperrime
Plin. xxviii, 5. I am not concerned prodidit Mucianus
paruasque ter cos.,
here to reconcile such statements with iatn, reliquias eius superesse hoc ex-

the glowing tributes paid to Mucianus perientium iniuria,

by Tacitus (Hist, i, 10; ii, 5, &c.). « First by Brieger, de Fontibus,
For an estimate of Mucianus see p. 59 ff.

especially Teuffel, § 314.

 MUCIANUS Ixxxvii

it was dedicated by Helena, who had moulded it on her breasts.

(L. Brunn, 43.)
2. xxxiii, 155: silver cups chased by Boethos, the hodie
showing that Pliny was quoting from a contemporary authority.
(L. Brunn, 44.)
Rhodes (city): 3. xxxiii, 155: silver cups chased by Akragas
and Mys. (L. Brunn, 44.)
4. xxxiv, 36 : Rhodi etiamnum LXXIII signorum esse Mucianus
ter COS. prodidit. (L. Brunn, 12.)
5. lb. 41, 42 : the description of the colossus of Rhodes
(L. Brunn, 45) ; it evidently rests on the testimony of an eye-
witness, and the delighted insistence on the marvellous appearance
{miraculo est) of the fallen colossus, and its size and its cost, betrays

the special bent of Mucianus '.

6. lb. § 42 : Sunt alii centum numero in eadem urbe colossi

minores (L. Brunn, 45) ; the words are inseparable from the
notices of the large colossus, and moreover recall xxxvi, 37.

7. xxxv, 69 the picture by Parrhasios of Meleager, Herakles,

:

and Perseus, thrice struck by lightning and yet not effaced

—
}wc ipso miraculum auget (L. Brunn, 46), the insistence upon
the miracle being thoroughly after the manner of Mucianus.
8. To the seven passages on Rhodian works of art, which critics

agree in tracing back to Mucianus, should be added the mention

in xxxiv, 63, of the chariot of the Sun by Lysippos, in primis
vero quadriga cum Sole Rhodiorum ^.

II. Knidos.

9. xxxvi, 20, 21: description of the Aphrodite of Knidos ; it is

that of an eye-witness, who is interested neither in the motive

nor technique of the statue, but whose tourist's curiosity was
roused by the story of King Nikomedes, by the tradition that
the artisthad made two rival statues, the one draped, the other
not, and by the anecdote of the statue's lover '-
finally

10. lb.: Sunt in Cnido et alia signa marmorea inlustrium

artificum —inseparable from the preceding notice of the Aphrodite
cf. above, 6 and 5

' Brieger, I.e. ' The passage first referred to

Miinzer (p. 504) correctly omits
^ Mucianus by Furtwangler, op. cit.,

it from the original Xenokratic list p. 53 f. ; cf. Oehmichen, of. cit.,

of Lysippian works, but makes no p. 148.

further suggestion as to its authorship. * Furtwangler, /. c.
Ixxxviii INTRODUCTION

III. Halikarnassos.

11. xxxvi, 30, 31 : description of the Mausoleion; it resembles

in character that of the Knidian Aphrodite ; the size, the beauty,
and the labour expended upon the monument are described, but
nothing is said of the subject presented ; the words hodieque
certant manus point to a contemporary authority ^-

IV. Miletos.

12. xxxiv, 75: Apollo of Kanachos, with the wonderful stag.

That this is an addition to the original Greek account of the
artist has already been pointed out (above, p. xxii) ; the periegetic
character of the description, and the insistence upon trivial pecu-
liarities which were perhaps only the result of accident^, are
characteristic of Mucianus '.

V. Samos.
13. XXXV, 93 : portrait of Habron by Apelles *.

VI. Ephesos.

14. xxxvi, 95 : description of Temple of Artemis; it is evidently

from the same hand as xvi, 213 (= App. IV), where Mucianus
is quoted by name. Besides, the description bears the same
character as that of the Mausoleion (No. 11) : the interest of the
describer centred in thewonder of the foundations, in the size
and number of the columns, and in the apparition of the goddess
to the tired artist.
15. lb. 32 : the Hekate, against whose radiance the guardians
of the temple advised visitors to shade their eyes. (L. Brunn, 51.)
16. XXXV, 92 : the portrait of Alexander by Apelles; the descrip-
tion seems by Mucianus; the price of the work is dwelt upon, and
the motive of the thunderbolt mentioned only because digiti
eminere videntur et fulmen extra tabulatn esse. (L. Brunn, 53.)
17. XXXV, 93: picture of the procession of a Megabyzos by
Apelles. (L. Brunn, 53.)
1 First attributed to Mucianus by conversation, first suggested to me
Furtwangler, /. c. that the puzzling Plinian description
" See note on passage. Ernest of the stag was a periegetic fable In-
Gardner, Handbook of Greek Sculp- vented out of some trivial failure in
ture, p. 194, note i, hints at the same the casting.
possibility. If my memory serves me =
Oehmichen, Plin. Studien, p.
right, it was Mr. A. S. Murray who, 142 f.

some years ago, in the course of ' Oehmichen, p. 146.

 MUCIANUS Ixxxix

i8. lb. 129 picture of the Madness of Odysseus by Euphranor

:

Mucianus interpreted the action of Palamedes differently to other

authorities ^ (see Comm.).
19. lb. 131 : grave picture of a priest of Artemis by Nikias.
(L. Brunn, 54.)
20. xxxiv, 58 : Apollo by Myron, taken away by Antonius and
restored to the Ephesians by Augustus, in obedience to a dream.
Miinzer 544) has astutely detected the apocryphal character
(p.
of a story invented by a jealous priesthood in emulation of their
Samian neighbours. (See Comm. on pass.)

VII. Smyrna.

21. xxxvi, 32 : the drunken old woman by Myron (for the

epithet ebria, see Comm.) ''.

VIII. lasos.

22. xxxvi, 12 Artemis, by the sons of Archermos

:
°
j evidently
from the same writer as following fragment ^

IX. Chios.

23. Ib.\T,: mask of Artemis by the same artists ; the Mucianian

character patent in the description of the face, which appears sad
to those who enter the temple, gay to those who leave it.

X. Pergamon.

From we learn that Mucianus was in that region;

xxxvi, 131
accordingly we should perhaps refer to him the notices concerning
Pergamene art. These are foreign to the original treatises (above,

p. xxi) : Xenokrates lived too early to take Pergamon into

account ; Antigonos, although himself one of the artists employed
by the Pergamene kings (xxxiv, 84), accepted the chronological
hmit of the Xenokratic Treatises. Pasiteles did the same,
marking his only addition to the chronology as a 'Revival'
(above, p. Ixxix f.). It only remains to conjecture that Pliny took
from Mucianus his descriptions of Pergamene works '"-

'
Rightly attributed to Mucianus by ' Oehmichen, p. 147 ; cf. Miinzer,
Oehmichen,/.c., asagainstFurtwangler of.cit., p. 525, note i.

(p. 44), who gave the passage to * That Mucianus visited lasos
Pasiteles. appears from ix, 33.
"^
Cf. Furtwangler, op. cit., p. 54. * Cf. Miinzer, op. cit., p. 544.
xc INTRODUCTION
24. xxxiv, 84 Plures artifices
: Aniigonus ; the words ^ui . . .

volumina condidit de sua arte may be an addition of Pliny's own.

25. XXXV, 60 : Aiax fulmine incensus by Apollodoros, the hodie
pointing clearly to a contemporary authority'. (Oehmichen, 71.)
26. xxxvi, 24: the 'symplegma' by Kephisodotos, with the
epigram attached thereto. (Oehmichen, 81.)

XI. Samothrake.
From xi, 167 it appears that Mucianus visited this island;
hence we may refer to him :

27. xxxvi, 25 : an Aphrodite and Pothos by Skopas ; the words

sandissimis caerimoniis coluntur are characteristic of the pious and
superstitious Mucianus. (Oehmichen, 78.)

XII. Parian.
28. xxxiv, 78 Herakles by Hagesias (Oehmichen, 67). That
:

this is an addition to the early Greek account was pointed out

above, p. xxiv. Parion, moreover, only became a colonia under
Augustus (see Comm.). It was not known as such to Varro, who
only refers to it as Parion (cf. vii, 13, in Hellesponto circa Parium,
on the authority of Varro) ; thus Mucianus remains the only one
of the Plinian authors known
to have visited this region at a time
when it would be generally described as P. colonia.
29. xxxvi, 22 nude Eros by Praxiteles in Pario colonia, with
:

the story of its lover Alketas of Rhodes, closely resembling the

story of the lover of the Knidian Aphrodite. (Oehmichen, 68.)

XIII. Lysimacheia.

30. xxxiv, 56 : a Hermes by Polykleitos, no longer extant when

Mucianus visited the city '.

This bald list serves to indicate the immediate indebtedness of

Pliny to Mucianus, but there arises the further question whence
Mucianus derived his own information. That he relied in great
measure, perhaps mainly, on the tales of ciceroni, is evident from
the nature of what he relates. Yet in some cases, e. g. in the
description of the Mausoleion, or of the colossus of Rhodes, he

1 Furtwangler, Plinius, p. 53. city which lay in the route of Mucianus

= First attributed to Mucianus by —must be referred to this author : '
it
Munzer, op. cit., p. 535. In a private has all the characteristic signs
note Miinzer further points out to me personal observation and interest in
that the description of the temple of the miraculous.'
Erythreia (xi, in, and xxxv, 161) —
 ROMAN MUSEOGRAPHY xci

doubtless had handbooks which informed him of such details as

price and
size, or gave the names of the artists employed. To
ascertain what these handbooks may have been, and whether
fragments of Greek writings other than those of the Xenokrates-
Antigonos-Pasiteles group reached Pliny through Mucianus, is

a task which lies outside the compass of the present essay.

IX. Fliny's mvn additions. —Roman Museography.

Retrospect.

Besides the Varronian additions to the material derived from the

Greek and besides the material which he derived inde-
art-treatises,

pendently from Varro, Pliny enriched his account of the artists by

notices concerning the locality in Rome of a number of Greek works.

It is well known that in the days of Pliny, and already long before

his time, Rome displayed within her galleries, her temples, and her

public places an unrivalled collection of works of art, gathered

together from every part of the Hellenic world. From the day
when Marcellus had first induced the Romans to admiration of
Greek art by displaying the spoils of Syracuse \ down to that
crowning day of a triple triumph when Caesar Augustus cele-

brated his victory over the last of the Hellenic powers ", statues
and other works of art had come to be as much a part of the
pageantry of triumphs as captives or military booty ^ The
solemn dedication of these objects in some public building was
the natural sequel of the triumphal procession. The great
generals of the Republic *, and them the Emperors had
after '^,

shown themselves zealous for the preservation and arrangement

of these collections. Only a short while before Pliny compiled

' Liv. XXV, 40 ; see Comm. on cf. Comm. on xxxiv, 54, the statues
XXXV, 24, 1. 16. dedicated by Catulns in the temple
^ In 23 B. c. ; for the works of art of the Fortune of the Day, and on
brought to Rome from Alexandria, xxxiv, 77, the Minerva dedicated by
see Wunderer, Manibiae Alexan- Q. Lutatius Catulus below the
drinae. Capitol.
^ So much so that works of art * E. g. Gallery of Octavius, xxxiv,
were even displayed in triumphs over 13 ; Gallery of Pompeius, xxxv, 114,
barbaric and Western nations; the 126,132.
art booty acquired from Macedonia by
° E.
g. Gallery of Octavia, xxxiv,

Aemilius Paullus, for instance, seems 31 xxxv, 139

; xxxvi, 24, 35, &c.
;

to have formed an inexhaustiblemine and consult the Museographic Index

whence other conquerors could draw (ii).
xcii INTRODUCTION
his history of the artists, his patron Vespasian had opened the
great Temple of Peace, destined with its surrounding Forum ^ to

receive, alongside the treasures of theTemple of Jerusalem, those

Greek masterpieces which the greed of Nero had gathered within
the Golden House ^- The pages of Pliny are certainly the richest
mine of information concerning the art treasures of Rome. Owing,
moreover, to his preference for books over personal observation
of actual fact, Pliny not unfrequently records the locality of
works of which had disappeared in his day '. Yet a dis-
art

cussion of the sources whence Pliny obtained his museographic

information, though of matchless interest for the study of Roman
history and topography, lies entirely outside an inquiry concerned
with the Greek element in Pliny. It suffices to point out that
Pliny doubtless had straight from Varro (p. Ixxxiii f.) most of the
Roman notices relating to events up to the close of the Republic ;
that for the Early Empire, up to the reign of Nero, he may have
borrowed from authors such as Deculo * or Fenestella ^ ; while his
allusions to Nero ", and his eulogies of the Flavian Emperors, and
of the works of art in their possession ', were probably part of the
material he had himself compiled for his own History of Rome,
a work embracing the period from the accession of Nero to the
Judaic triumph of Vespasian and Titus *.

It is little or nothing, then, of intrinsic importance from our

point of view, that Pliny added to the Greek Treatises as he
found them excerpted in Varro. At most does he bring the
information thus derived from the Greeks into consonance with
the taste of his day by occasional flashes of rhetoric, such as the
repeated lament over the decay of art ' ; his outburst of admira-
tion at the power of art, which '
could turn the eyes of the Senate
of the Roman people for so many years upon Glaukion and his

' xxxiv, 84. evidently from the same source as

^ ib- the mention of the ' Archigallus
' This remark applies to a great loved by Tiberins, in xxxv, 70 ; see
portion of the Roman statues men- Oehmichen, Plin. Studien, p. 123.
tioned in the earlier part of xxxiv. * Cf. Oehmichen, op. cit. p. 125.
Cf. also xxxiv, 69 (statues by Praxi- ° xxxiv, 45, 48, 63, 84; xxxv, 51,
teles which had stood in front of 91, 120, &c.
the Temple of xxxv, 99,
Felicity) ;
' See especially xxxiv, 84 ; the
the Dionysos and Ariadne of Aris- appreciation of the astragalhontes
teides. belonging to Titus in xxxiv, 55, and
* From whom he had the anecdote of the Laocoon in xxxvi, 37.
of Tiberius' passion for the Apoxyo- °
Praef. Hist. Nat. 20.
menos of Lysippos, xxxiv, 62 ; it is « Cf. xxxiv, 5 ff. ; xxxv, 4,39.
 PLINY'S ADDITIONS xciii

son Aristippos, persons otherwise quite obscure his simulated

;
'
'

indignation at the cruelty of Phalaris^; and his allusion to the

present merited dishonour of that Carthaginian Hercules to whom
human victims had once been offered up ^
In estimating Pliny's account of the artists we must never
forget that it was inserted into the Historia Naturalis as a digres-

sion, which was artificially linked to the history of mineralogy on

the pretext of the materials employed. In doing this Pliny was
responding rather to the curiosity of his time in *
artistic matters
than following any special inclination of his own. If Pliny cared
for art at all, it was only for its most realistic and imitative
aspects. He admires the brutal realism of the dog licking her
wounds ^ and in the workshop of Zenodoros his enthusiasm is

roused by the colossal model which, even when covered with its

wax tubings, betrayed an extraordinary likeness to Nero°.

Occasionally too — and we may pay this tribute to our author as
we take our leave of him — we seem to detect that, if he appears
too often as an indiscriminating compiler, this is not so much
through total lack of the critical faculty as through lack of time.
At least he does not omit to rail at those critics who ascribed
to Polykleitos (the elder namesake being the only Polykleitos
known to him) the statue of Hephaistion, the friend of Alex-
ander, although Hephaistion had lived nearly one hundred years
after the artist', while in xxxiv, 79 he expresses by a vigorous
turn of phrase his astonishment at finding Daidalos, whom in
his hurry he confuses with the old Homeric craftsman, figuring
among the artists of the historic age*. Yet the critical note
is rare, and, in the larger inquiry concerning the sources whence

Pliny drew, his own estimate of these sources appears but as

a trivial accident.
Thus the tendency of modern research is to lessen more
and more the importance of Pliny's personal contribution in his
account of the artists, as indeed in the whole of his great work.

Yet, by a singular irony, the fundamental faults of his work have

bestowed upon it a permanent value. He has given us what is

better than any original criticism which his century could have
produced —a short compilation which is, to borrow the word he
'
XXXV, 38. in Plutarch treating of art.
''
xxxiv, 89. ^ xxxvi, 39. « xxxiv, 38. ° ib. 45-46.
* Cf. Bertrand, £tudes, p. 329 ff., ' ib. 64.
and his remarks, ib., on the passages * ib. 76.
xciv INTRODUCTION
applies to the whole Historia, the '
storehouse ' or thesaurus
wherein are consigned fragments from the lost text-books of
Xenokrates, from the Biographies of Duris and Antigonos, nay,
priceless sayings that had filtered through the ages from the very
writings of Apelles and Pamphilos \

' A short but admirably just estimate of the precise value of Pliny's work is

given by J. W. Mackail, Latin Literature, 1895, P" ^97-

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cardiana at Florence.

Voss. = the Codex Vossianus Latitvus 61 in folio, of the ninth century (cf.
Chatelain, Paliographie des Classiques Latins, pi. cxli); in the University
Library at Leiden.

Lips. = the Codex Lifsii 7 ^see Geel, Cat. n. 465), copied from the Vossianus
when this codex was more complete than it is now, and before it had
been corrected (cf. Chatelain, pi. cxlii) ; in the University Library at
Leiden.

e corr.=« corredione and refers to the corrections introduced into a MS. by

a later hand.

reliqui=th.e remaining codices save the particular codex or codices anywhere

quoted.
** = a corrupt readmg which has not yet been satisfactorily restored.

t printed before an artist's name in the English translation signifies that the
artist is so far known only from Pliny.
 C. PLINII SECUNDI
NATURALIS HISTORIAE
LIBER XXXm §5 154-157

LIBER XXXIV §§ 5-93 ; 140-141

{CAELATURA ET STATUARIA)
 I. CAELATURA.
Lib.
xxxm.
154 MiRUM auro caelando neminem inclaruisse, argento
multos. maxime tamen laudatus est Mentor de quo supra
quattuor paria ab eo omnino facta sunt, ac iam
diximus.
nullum extare dicitur Ephesiae Dianae templi aut Capitolini
incendiis. Varro se at aereum signum eius habuisse scribit. 5

155 proximi ab eo in admiratione Acragas et Boethus at Mys

§ 154. 2. maxime . . . laudatus dently and at different times ; the

the silver chasers are arranged in present passage seems a later addition,
order of merit in four groups (a) max. taken straight from vii, 127 (Furt-
laudatus, {b) proximi ab eo, (c)fost has wangler, Plinius u. j. Quellen, p. 57,
celebrati, id) item laudantur. Within note i).

each of these groups the names are 3. quattuor paria : cups are men-
arranged alphabetically, Benndorf, de tioned in pairs, xxxiii, 147 (quoted
Anthol. Graec. Epigramm. quae ad above) xxxiv, 47 {duopocula Calami-
;

artes spectant, p. 52, note i. The dis manu); below § 156 {in duobus
main account, derived, through a scyphis). It was apparently customary
Roman source, from some Greek to decorate the pair with one con-
writer, is interrupted (i) by the tinuous subject, as is expressly stated
mention of Varro's statue ; (a) by a in the case of the cups by Zopyros (cf.

description {extant . . . habuii) of Furtwangler, Dornauszieher, p. 96,

chased works in Rhodes, drawn pre- note 63) and known from extant in-
sumably from Mucianus (Brieger, de stances, e.g. the superb pairs of caps
Fontibus Flin. p. 60), Introd. p. Ixxxvi from Bemay, Schreiber, Alex. Toreu-
(3) by the quotation of an epigram. tik, 54*, 55* (= Babelon, Cab. des
de quo supra diximus the refer- : Antiques, pi. 51 and 14, with Ken-
ence is to vii, 127, where the cups taurs and Kentauresses); ib. 6'j*, 68*;
of Mentor are again alluded to as id. 63*, 64* (at Naples) = ^aj. Borb.
being in the Ephesian and Capitoline xiii, pi. 49.
temples. The reader, however, would 4. lEjpliesiae . . . incendiis : tH,
naturally think of (xxxiii, 147) Lucius 127. The fire, which occurred in B.C.
'
uero Crassus orator duos scyphos Men- 356, gives us a lower limit for the
toris artificis manu caelatos HS. c (sc. date of Mentor. For the numerous
emptos habuit); but this statement passages in ancient authors referring
being at variance with the present one, to this, the most celebrated silver
they must have been made indepen- chaser of antiquity, see Overbeck's
 I. SILVER CHASING.
Book
XXXIII.
Curiously enough, none have become famous as gold chasers, 154
many as chasers of silver. Of these the most esteemed is that
Mentor, whom I have already mentioned. He made four pairs
of cups in all, none of which, it is said, are extant ; they perished
when the temples of Artemis at Ephesos and of Jupiter on the
Capitol were burnt down. Varro speaks of a bronze statue in his

possession also from the hand of Mentor. Next to him -^Akragas, 155
Boethos, and Mys were had in great admiration. Works by these

Schriflquellen,2i6^-2i%i. The Capi- Sigillata, p. 58, maintains that when

toline fire occurred B. C. 83, during the a coin impression decorates the
Civil War, Appian, 'E^k^. i, 83. interior of a cup, it is always the
5. Varro cf.xxxvi,4i, where Varro
: only ornament and therefore inad-
is likewise cited both as author and missible for cups decorated in relief,
owner. —Like a number of other caela- like those of Akragas. For names
iores (so Kalamis, Ariston, Eunikos) derived from river-gods cf. Atarjiros,

Mentor was also a sculptor in bronze. as early as the sixth century (see

§ 155. 6. Acragas : the name, which Fick, Gr. Personennamen, p. 347,

is that of the eponymous river-god where a further list of such names
of Agrigentum (Ailian, Horn. lar. ii, is given). That the chaser Akragas
33), shows him to have been a native appears only in Pliny need not
of that city, whose early connexion astonish us to mention only Epi-
:

with Rhodes (cf. T. Reinach, /(ev. gonos (xxxiv, 88), this apparently
Arch, xxiv, 1894, p. 178), would ac- very famous artist was up to the date
count for the artist seeking a field for of the Pergamene finds known from
his activity in the brilliant and art- Pliny alone.
loving city of Rhodes (cf. Museogr. Boethus : xxxiv, 84. Cic. Verr.
Index) founded B.C. 408; at present, II, iv, 14, I- 32 . . . hydriam Boethi
however, we have no nearer clue to manu factam. A gem representing the
his date. Against the theory of Th. wounded Philoktetes, signed BOHQOT
Reinach, pp. 170-180, that a
op. cit. is probably to be referred to him
chaser Akragas never existed, but was (Furtwangler, Gemmen m. KUnstler-
merely assumed owing to a misunder- inschriften, Jahrb. iii, pi. VIII, 2 1 and
standing of the legend AKPAFAS on p. 216).
coins inserted as the umbilici of silver Mys : he was a contemporary
cups, Hans Dragendorff in Terra of Parrhasios (xxxv, 65, 68-73), from

B %
 4 C. PLINII SECUNDI NAT. HIST. XXXIII

fuere. omnium opera hodie in insula Rhodiorum,

exstant
Boethi apud Lindiam Minervam, Acragantis in templo
Liberi patris in ipsa Rhodo Centauros Bacchasque caelati
scyphi, Myos in eadem aede Silenos et Cupidines. Acra-
gantis et venatio in scyphis magnam famam habuit. post 5

156 hos celebratus est Calamis. et Antipater quoque Satyrum

in phiala gravatum somno conlocavisse verius quam caelasse
dictus est. Stratonicus mox Cyzicenus, Tauriscus, item
Ariston et Eunicus Mitylenaei laudantur et Hecataeus et

circa Pompei Magni aetatem Pasiteles, Posidonius Ephesius, lo

*//i?ifj/j *,Thrakides qui proelia armatosque caelavit, Zopyrus
qui Areopagitas et iudicium Orestis in duobus scyphis
HS [XII] aestimatis. fuit et Pytheas cuius duae unciae
5€ X venierunt. Ulixes et Diomedes erant in phialae
157 emblemate Palladium subripientes. fecit idem et cocos 15

magiriscia appellatos parvolis potoriis, e quibus ne exem-

II. Hedys, Thrakides] Furtwangler, FlecTeeiserC s Jahrb. v, xxii, 1876,

/. 507 ; hedystrachides ^a/n^. ; iedis thiaaides re/i^ui ; Hedystracbides .SV//;^,
Detlcfsen ; Telesarchides coni. Dilthey ap. Benndorf, de Epigr. p. 53.

whose designs he executed the Ken- Akragas. in scypMs —the plural as

tanromachia on the shield of the usual because two cups or perhaps a
Athena Promachos (Paus. i, 28, 2). set were decorated with one continuous
The epigram, from a cup at Herakleia subject.
(Athen. xi, p. 782 B), beginning Vpay.- 6. Calamis xxxiv, 47, 71.
:

/MiJ llappaffioio, rexva- Mi/(Js . . . must § 156. 6. Antipater the name : of

however, owing to the expression the writer of an epigram has been
Tfxra riv6s, which does not occur in substituted for Diodoros, the real
pre-Imperial times, be a later forgery name of the artist, and moreover that
Preger, Inscript. Graec. Metr. p. 142, required by the alphabetical arrange-
note 185. ment; cf. Anth. Plan. 248
I. exstant . . . Cupidines : while lov Sarvpov AtSSapos e/coi/uaey, oix
the introduction of the word hodig eTopfvfffv.
points to a recent authority, the repeti- ^v "uf i/s, eyepur apyvpos vmiov f x"-
tion of the artists' names in a different an epigram similar to the one quoted
order, marks the sentence as an inter- in the words gravatum caelasse. . . .

polation (Introd. p. Ixxxvii). Introd. p. Ixviii.

3. Csntauros : for the subject cf. 8. Stratonious xxxiv, 85 he is : ;

the cups in the Biblioth. Natipnale mentioned Athen. xi, p. 782 B, among
and in Naples mentioned above. the si'Sofoi Topevrai.
5. venatio Dragendorff (Inc.
: cit.) Tauriscus in xxxvi, Pliny
:
33
suggests that the hunting scene on the expressly distinguishes him from the
silvered terra-cotta cups, Ann. d. Inst. same name.
sculptor of the
1871 PI. Q, and kindred compositions 9. Ariston, Eunicus . . . Heca-
raay be derived from the venatio of taeus xxxiv, 85.
:
 /. SILVER CHASING 5

three are still to be seen in the island of Rhodes : by Boethos in

the temple of Athena at Lindos, by Akragas cups with figures,
of Kentaurs and Bacchantes in the temple of Dionysos in the city
of Rhodes, and in the same temple cups by Mys, with figures of
Seilenoi and Erotes. Cups decorated round the interior with
hunting scenes by Akragas were also well known. Next in merit
to these chasers came Kalamis, \Antifater whose sleeping Satyr 156 —
was said to have been not chased but laid to rest within the cup—,
Stratonikos of Kyzikos, and t Tauriskos. Other famous chasers
are fAriston and ^Eunikos of Mitylene, t Hekataios, Fasiteles, a
contemporary of the Great Pompeius, i Foseidonios of Ephesos,
*Hedys*, t Thrakides, whose favourite subjects were battles and
warriors,and t Zopyros, who represented the court of the Areiopagos
and the trial of Orestes on a pair of cups valued at 1,200,000

sesterces [£10,500 circ.J. -^ Pytheas too made a cup weighing two

ounces which sold for 10,000 denarii [£350 circ.]; the design on
the interior represented Odysseus and Diomedes stealing the
Palladion. He further made small drinking cups in the shape of 157
cooks, called \j.ayapujKxa, the delicate chasing of which was so liable

10. Pasiteles : xxxv, 156; xxxvi, Pliny's main authority. Pytheas and
39 f. and above § 1 30. Cic. de Div. Teuker, therefore, lived presumably
i- 36, 79 mentions a toreutic work by in the period subsequent to Pasiteles.
him representing the infant Roscius The continuance of silver chasing at
wrapped in the coils of a serpent. least as late as the reign of Nero is

Possibly Pasiteles was influenced in proved by the case ofZenodoros (xxxiv,

the presentation of the subject by the 47). The decay of which Pliny com-
' infant Herakles strangling the snakes plains only applies to his own time
of Zeuxis (xxxv, 63). nor need we attach too precise a mean-
Posidonius xxxiv, 91.
: ing to this, or the similar complaint

11. Thxakides: for the name cf. on the decay of painting in xxxv, 4,
Fick, op. cit. p. 141. The corrupt both being evidently rhetorical, cf.
Hedys conceals a name whose initial Oehmichen, PUnianische Siudien,
letter lies between P — T. p. i6i f.; Furtw'angler in Berl. Phil.
12. Areopagitas . . . Orestis : Wochenschr., 1895, p. 814.
i. e. Orestes undergoing his trial 14. mixes et Diomedes : for the
before the Areiopagos, the subject subject cf. the celebrated Spada relief,

being spread over both cups. Cf. Schreiber, Hell. Reliefbilder, pi. VII,
Winckelmann, Mon. Ined. pi. 151 for the gem, signed Calpumius Felix,
a silver cup in the Corsini coll. re- Jahrbuch iii, 1888, Pi. x, 7 ; cf.
presenting this subject ; better repro- Furtwangler, ib. p. 312 and the relief ;

duced by Michaelis, Das Corsinische on the neck of one of the Bemay oino-
Silhergefdss, Leipzig, 1S59. choai, Babelon, Cab. des Ant. pi. 41.
13. fuitet: like the ^aiJ««V«^ below, §157. 15. cooos; [i.e. silver cups
introduces <t new artist who had no in the shape of figurines. —H. L. U.]
place in the canonical lists quoted in 16. magiriscia : from /iiyeipos, a
 6 C. PLINII SECUNDI NAT. HIST. XXXIV
plaria quidem liceret exprimere, tarn opportuna iniuriae
subtilitas erat. habuit et Teucer crustarius famam, subito-
que ars haec ita exolevit ut sola iam vetustate censeatur,
usuque attritis caelaturis, si nee figura discerni possit, aucto-
ritas constat. 5

Lib.
II. STATUARIA.
XXXIV.
5 Quondam aes confusum auro argentoque miscebatur, et
tamen ars pretiosior erat, nunc incertum est peior haec sit

an materia, mirumque, cum ad infinitum operum pretia

quaestus enim causa
creverint, auctoritas artis extincta est.
utomnia exerceri coepta est quae gloriae solebat ideo — lo

autem etiam deorum adscripta operi, cum proceres gentium

claritatem et hac via quaererent adeoque exolevit fundendi —
aeris pretiosi ratio ut iamdiu ne fortuna quidem in ea re ius
6 artis habeat. ex ilia autem antiqua gloria Corinthium
maxime laudatur. hoc casus miscuit Corintho, cum cape- 15

retur, incensa, mireque circa id multorum adfectatio furit,

quippe cum tradatur non alia de causa Verrem quem

A.u.c. 711. M. Cicero damnaverat proscriptum cum eo ab Antonio,
quoniam Corinthiis cessurum se ei negavisset. ac mihi
maior pars eorum simulare earn scientiam videtur ad segre- 20

gandos sese a ceteris magis quam intellegere aliquid ibi

7 suptilius, et hoc paucis docebo. Corinthus capta est olym-
4. si nee] UrlicJis in Chresiom. p. 301 sine Bamb. ne reliqui, Detkfsen.
; ;

II. autem] om. omncs praeter Bamb., Detkfsen.

cook. [The subject influenced perhaps now the amount of precious metals
by the Middle or New Comedy.— yielded by the analysis of ancient
H. L. U.] bronzes is so small as scarcely to war-
i. Teucer: possibly identical with and
rant Pliny's statement that gold
the gem engraver Tempos {ct/aArb. silverwere regularly employed in
'"> P- 323)- the most ancient Greek alloys; cf.
crustarius this shows him
: to Blumner, Technol. u. Terminal, vol.
have been especially a worker of iv, p. 1 78ff. O. MUUer, Handbuch
;

e/iPKrifiaTa or crustae, i. e. of figures 306, Daremberg and Saglio, s. v. aes.

in relief, wrought separately and § 6. 15. hoo casus miscuit: cf.
sKtached to the object to be decorated; Florus,ii, 16 ; this and several other

cf. Cic. Verr. II, iv, 22, § 49 duo anecdotes (see in especial Paus. ii, 3, 3,
focula non magna, verum tamen cum and Plut. De Pyth. Or. 2, p. 395 B)
emblemate: z\s.o1ms.\.,i(>. Add. were invented to account for the origin
§ 5. 6. auro argentoque up : to of Corinthian bronze when the secret
 //. BRONZE STATUARY 7

to injury that it was impossible to take a cast of them. Teuker

also enjoyed some reputation for his embossed work. The whole
art then suddenly disappeared so completely that nowadays we
only value wrought silver for its age, and reckon its merit estab-
lished when the chasing is so worn that the very design can no
longer be made out.

II. BRONZE STATUARY. Book

XXXIV.
Bronze was formerly alloyed with both gold and silver, and yet 5
the workmanship used to be more valuable than the metal ; now ^"i^y "f

it is hard to say which is worse. It is extraordinary that when 'Mork.

the price given for works of art has risen so enormously, art itself

should have lost its claim to our respect. The truth is that the
aim of the artist, as of every one else in our times, is to gain money,
not fame as in the old days, when the noblest of their nation
thought art one of the paths to glory, and ascribed it even to the
gods. The process of founding valuable bronze is so completely
lost that for generations even fortune has not been able to secure
the results formerly ensured by skill.

Of the bronzes renowned in antiquity, the Corinthian is the g

most esteemed. An accident first produced this alloy in the fire Connthan
which followed on the sack of Corinth and the rage for it is
marvellously widespread. For instance, there is a story that when
Antony proscribed Cicero he also proscribed Verres (whose 43 b. c.
condemnation Cicero had once procured), simply because Verres
had refused to give up to him his Corinthian bronzes. In my
own opinion, however, most people affect a knowledge of
the subject solely to exalt themselves above the common herd,
without having any real insight into it ; this I can prove in a few
words. Corinth was taken in the third year of the hundred and 7

of its mixture liad been lost. Pliny witty satire in Petronius, Sat. 50, on
sees the impossibility of reconciling Corinthian bronze and its wonderful
the story of the Corinthian alloy and alloy.
the dates of famous statues, but instead 18. pToscriptum ab Antonio:
of questioning the truth of the story, cf Seneca Rhetor, .Jaaj. vi,vii, /««/»».
he proceeds to deny in toio the exist- For the use to which Augustus put the
ence of Corinthian bronzes, though it proscriptions, in order to obtain Cor.
is excellentlyand repeatedly attested bronzes, see Suet. Aug. 70 cf. Plin. ;

e.g. Martial, xiv, 172, 177, and often. where Nonius is proscribed
xxxvii, 81,
The reader will ieA reminded of the by Antonius for the sake of a fine opal.
 8 C. PLINIl SECUNDI NAT. HIST. XXXIV
piadis CLVIII anno tertio, nostrae urbis DCVIII, cum ante
saecula fictores nobiles esse desissent, quorum isti omnia
signa hodie Corinthia appellant, quapropter ad coar-
guendos eos ponemus artificum aetates. nam urbis nostrae
annos ex supra dicta comparatione olympiadum colligere 5

facile erit. sunt ergo vasa tantum Corinthia quae isti

elegantiores modo ad esculenta transferunt, modo in lu-

8 cernas aut truUeos nullo munditiarum dispectu. eius tria

genera: candidum argento nitore quam proxime accedens
in quo ilia mixtura praevaluit, alterum in quo auri fulva 10

natura, tertium in quo aequalis omnium temperies fuit.

praeter haec est cuius ratio non potest reddi, quamquam

hominis manu sed ad fortunam temperatur in simulacris
imaginem
signisque, illud suo colore pretiosum ad iocineris
vergens,quod ideo hepatizon appellant, procul a Corinthio, 15

longe tamen ante Aegineticum atque Deliacum, quae diu

optinuere principatum.
9 Antiquissima aeris gloria Deliaco fuit mercatus in Delo
celebrante toto orbe, et ideo cura officinis. tricliniorum
pedibus fulcrisque ibi prima aeris nobilitas, pervenit deinde 20

et ad deum simulacra effigiemque hominum et aliorum

animalium.
10 Proxima laus Aeginetico fuit. insula et ipsa est, nee
quod ibi gigneretur, sed officinarum temperatura nobilitata.
bos aereus inde captus in foro boario est Romae. hoc erit 25
exemplar Aeginetici aeris, Deliaci autem luppiter in
Capitolio in lovis Tonantis aede. illo acre Myron usus
§7. 2. fictores: from meaning liter- 8. trulleos: apparently identical
ally a modeller in clay, the vorAfictor with the felvis, a basin to wash hands
is extended to workers in bronze ; see or feet. For a pelvis of bronze of.
note on XXXV, 153. Juy. x, 64; for one of Corinthian
4. ponemus . . .aetates: in §§ bronze, Orelli, 3838.
49~5^- §8. 9. oandidum argento: for
nam :
elliptical ' for of course, as some bronze objects fonnd at Suessula,
I shall draw from a Greek source, really containing small quantities of
I shall give them only in Olympiads,' gold and silver, see BlUmner oj>. cit.
Furtwangler, Plinius, p. 19; for the p. 184, note 5.
ellipse cf. xxxv, 137 {nam Socrates); § 9. Deliaoo
18. : mentioned three
xxxvi, 32 {nam Myronis illius), where times, along with Corinthian bronze by
see note. Cicero, _^;-o Sext. Rose. Am. 46, 133;
7. luoernas: the familiar oval oil Verr. II, ii, 34, § 83; ib. 72, § 176.
lamp with flat top. meroatus in Delo : i.e. the fair
 //. BRONZE STATUARY g

fifty-eighth Olympiad, that is, the year of Rome 608 [146 b.cJ,
centuries later than the celebrated workers, whose statues our
amateurs still assume to be all of Corinthian bronze. I shall

prove that they are wrong by giving the dates of the artists, for

it will be easy Olympiads into years of Rome by

to turn the
referring to the two corresponding dates given above. It follows
that the only vessels of Corinthian bronze are those which these
connoisseurs use as dishes or lamps or basins, with no regard for
theirworkmanship.
There were three varieties of Corinthian bronze a white 8 —
bronze, that shone almost like silver, and contained a very large
proportion of that metal; a second, in which a reddish tinge of
gold prevailed; and a third, in which the three metals were
blended in equal proportions. There is also a fourth alloy, of
which no scientific account can be given it is employed for
;

images and statues, and though it is produced by the hand of

man, yet fortune partly determines the resuk. It is known as
TjiraTi^ov from the peculiar tint, verging on liver colour, which is

its chief merit. It is inferior to the bronze of Corinth, but

superior to those of Aigina and Delos, though these were long
thought the best.
The bronze most celebrated in early times was that of Delos, 9
for as all nations resorted to themarket of the island, great care
f^J^""
was bestowed on the manufacture of bronze. It was first employed
there for the feet and framework (Add.) of couches, and afterwards
its use was extended to images of the gods, and figures of men
and animals.
Aiginetan bronze was the next to become celebrated. Aigina 10
also is had no mines, but owed its reputation to f'S''"^^'"^
an island ; it
* oronze.
the admirable alloys produced in its foundries. A bronze bull, jj^n ^„
...
taken from Aigina, and now in the Cattle Market at Rome, may Cattle
Market
Stand for an example of Aiginetan bronze, and the Jupiter in the „ '

temple of Jupiter the Thunderer on the Capitol for an example oiJupiter the
Thunderer.
held connexion with the quinquen-
in §10. 23. Aeeinetioo the alloy was
:

nial festival of Apollo and Artemis. renowned because of the famous artists
21. ad deum simulacra: cf. § 15 who employed it. For a vivid picture
transit deinde ars vulgo ubique ad of the Aiginetan SchooI,seeCollignon,
effigies deormii : the imagined pro- Sculpt. Grecque, i, 280-307.
gress of art from furniture to images 25. in foro boario : Tac. Ann.
of gods and hence to images of men xii, 24.
and animals is purely conventional 27. lovis Tonantis aede. Cf.
seeMunzer, ^er/KW XXX, 1895, p. 501. xxxvi, 50. A small temple built (B.C.
 lo C. PLINII SECUNDI NAT. HIST. XXXIV

est, hoc Polycletus, aequales atque condiscipuli, sed aemu-

latio et in materia fuit.

11 Privatim Aegina candelabrorum superficiem dumtaxat

elaboravit, sicutTarentum scapos. in his ergo iuncta com-
mendatio officinarumest. nee pudet tribunorum mihtarium 5

salariis emere, cum ipsum nomen a candelarum lumine

inpositum appareat. accessio candelabri talis fuit Theonis

iussu praeconis Clesippus fullo gibber et praeterea et alio
12 foedus aspectu, emente id Gegania HS L. eadem osten-
tante in convivio empta ludibrii causa nudatus atque to

inpudentia libidinis receptus in torum, mox in testamentum,

praedives numinum vice illud candelabrum coluit et banc
Corinthiis fabulam adiecit, vindicatis tamen moribus nobili
sepulchre per quod aeterna supra terras Geganiae dedecoris
memoria duraret. sed cum esse nulla Corinthia candelabra 15

constet, nomen id praecipue in his celebratur, quoniam

Mummi victoria Corinthum quidem diruit, sed e compluri-
bus Achaiae oppidis simul aera dispersit.
13 Prisci limina etiam ac valvas in templis ex aere facti-
A.u.c. 587. tavere. invenio et a Cn. Octavio qui de Perseo rege nava- 20
lem triumphum egit factam porticum duplicem ad circum
Flaminium quae Corinthia sit appellata a capitulis aereis
columnarum, Vestae quoque aedem ipsam Syracusana super-
ficie tegi placuisse. Syracusana sunt in Pantheo capita

22) by Augustus near the great temple delubrum dicunt ; and Macrob.
of Jupiter Capitolinus to commemorate Satur. iii, 4, 2; cf. Martial, xiv, 43.
his miraculpus escape from death by 8. Clesippus the slave was of
:

lightning (,Suet,/ia^. 29); ilf«K.^Kfj/y. course a Greek (KX^o-iTnroj). The

xix, 4, S Mommsen, Res Gestae,
; story is attested by an inscription (close
p. 81. The temple appears on coins of Republic) C. I. L. i, 805, Clesippus-
of Augustus, Cohen, Aug. 178-180; Geganius mag. CapifypTymag. luperc.
184-186. For the bronze statue by viat. tr. apparently belonging to the
Leochares, see below § 79. sepulchre mentioned in § 12.
Myron ... Polycletus, §§55- § 13. 19. limina etiam ao valvas:
S^- either of massive bronze or plated,
§ 11. 5. tribunorum . . . salariis : Marquardt, Privatleben der Romer,
cf. Juv. iii, 132. p. 223 ff.
^6. a candelarum lumine: the 20. Cn. Ootavio the portico (built
:

etymology is Varronian; cf. Varro, b.c. 167) stood in the Campus

ap. Servius on Aen. ii, 225 ... a/ in Martius near the Circus Flaminius
quo figimt candelam candelabrum and the theatre of Pompeius. It was
appellant, sic in quo deum ponunt burnt down and rebuilt by Augustus
 //. BRONZE STATUARY n
Delian bronze. Aiginetan bronze was employed by Myron, and Bromcs
Delian by Polykleitos. These two artists were contemporaries ^Myronand
and fellow-pupils, who carried their rivalry even into their choice Polykleitos.

of a material.
At Aigina it was the trays, at Tarentum the stems of cande- ii
labra which were specially elaborated, so that the efforts of several f
'^"'^'«-

labra.
workshops combme recommend these utensils. They are
to
things without even a name except the one which they borrow
from the light of their own candles, and yet we are not
ashamed to give as much for them as the year's pay of a military
tribune. Theon, the auctioneer, once included in the same lot as Story of
one of these candelabra a slave, a fuller named Clesippus, who and
was humpbacked and altogether hideous. The lot was bought for Gegania.
50,000 sesterces (£440 circ.) by Gegania, who displayed her 12
purchase at a banquet, and exposed Clesippus naked to the
company, yet afterwards, through sheer wantonness,
ridicule of the
made him her lover, and at last her heir. Thus enriched, he
worshipped the candelabrum as a deity, providing yet another
story about Corinthian bronzes. Morality, however, was avenged
in the magnificent tomb that he built only to keep the
remembrance of Gegania's infamy alive upon the earth. Although
none of these candelabra are really Corinthian, yet they are called
so because Mummius destroyed Corinth ;
people forget that his
victory also scattered the bronzes of various other Greek cities.

In early times the thresholds and folding-doors in temples 13

'
were commonly made of bronze. I find, too, that Gnaeus ^j^"
Octavius, who was granted a triumph for his naval victory over 167 b.c.

King Perseus, built a gallery with double colonnade by the Circus

of Flaminius, called the Corinthian Gallery, from the small bronze
capitals of its columns. A decree was also passed that the temple
of Vesta should be roofed with plates of Syracusan bronze.
(Festus, p. 178; Mon. Aiic. xix, 4, Top.der Stadt Rom\\i,-^. 2io,n..2^
2-4. Mommsen, Res Gestae, p. 80), 23. Vestae . . . tegi; cf. xxxiii, 57.
after theDalmatian Triumph, B. c. 33. 24. plaouisse : probably after the
It must be distinguished from the great fire of B.C. 241, cf. vii, 141.
porticus Octaviae, § 31. Invenio in Pantheo : built (B. c. 27)
shows that Pliny is quoting from an by Agrippa in his third consulate,
ancient authority; either the building This earlier building was altered to
no longer existed in his day, or the its present shape in the reign of
outer colonnade had not been restored Hadiian. For and
recent discoveries
after the fire, so that the remarks as to literature, cf. C. Hulsen in T.J. B.
the columns apply to the pre-Augustan iv, p. 305 (A'oot. Mitth.im, 1893) and

building. (See O. Gilbert, Cesch. u. Gardthausen .^^jwrfaj ii, p. 43of.

 12 C. PLINII SECUNDI NAT. HIST. XXXIV
columnarum a M. Agrippa posita. quin etiam privata opu-
lentia eo modo usurpata est. Camillo inter crimina obiecit
A.u.c. 363. Spurius Carvilius quaestor ostia quod aerata haberet in
domo.
14 Nam triclinia aerata abacosque et monopodia Cn. s

Manlium Asia devicta primum invexisse triumpho suo quem

duxit anno urbis DLXVII L. Piso auctor est, Antias quidem
heredes L. Crassi oratoris multa etiam triclinia aerata vendi-
disse. ex acre factitavere et cortinas tripodum nomine
Delphicas, quoniam donis maxime Apollini Del'phico dica- lo

bantur. placuere et lychnuchi pensiles in delubris aut

arborum mala ferentium modo lucentes, quale est in templo
Apollinis Palatini quod Alexander Magnus Thebarum ex-
A.u.c. 419. pugnatione captum in Cyme dicaverat eidem deo.
15 Transiit deinde ars vulgo ubique ad effigies deorum. 15
Romae simulacrum ex acre factum Cereri primum reperio
A.u.c. 270. ex peculio Spuri Cassi quem regnum adfectantem pater
ipsius interemerit. transit et a diis ad hominum statuas

9. nomine] nomine ac Barnb.; nomine a Voss.

3. Spvirins Carvilius : his part in arise from a copyist's misunderstanding

the trial mentioned only by Pliny.
is of Delfhicas as a separate object.
ostia quod aerata; koX ^ra Kal ii. lychnuchi; ori^nally lamp-
eipat Tivh iXiyovTO x"^*"'" ""/>' stands {Kvxvoiixot), whence the name
oirS (pavTJvai Toiy aixiMxKiiTav. Plut. was transferred to the whole candela-
CanUll.YM. brum, Marquardt, op. cit. p. 711;
§14. 5. abacosque: the use of DarembergetSaglio,s.v.^3«i&Mr«»j.
a/iaci as sideboards appears really to pensiles; Verg..4««i, 726; Petron.
date from the conquest of Asia, Mar- Sat. 30 et lucema bUychnis de camera
qnardt, Privatkben, p. 319. pendebat.
Cn. Manlium: Liv. xxxix, 6, 7 12. quale: sc. candelabrum, to be
ii primum lectos aerates et quae . . . supplied from § 12.
turn magnificae supelleciilis habe- templo Apollinis: dedicated by
bantur inonapodia et abacos Romam Augustus B.C. 27, cf. xxxvi, 32.
advexerunt. § I5. ij. Transiit ... ars : note
6. Asia devicta : cf. xxxiii, 148. on § 9.
7. L. Piso; Lucius Calpumius 16. simulacrum: restricted as
Piso, sumamed Frugi ; cos. B.C. 133; usual to images of the gods, while
frequently quoted by Pliny, Teuffel, stcdua is more particularly used for
G. R. L. § 132, 4. mortals. The notion that the Cassian
. Antias, Valerius, fl. ab. 45 b. c. simulacrum was the
; first of its kind
_
frequently quoted by Pliny; Teuffel, at Rome is in flagrant contradic-
§ '56> 2. tion to the mention in § 33 of a
9. nomine ;
cf. Diodoros, xvi, 26. Hercules, consecrated by Evander and
The corrupt ac of the MSS. must of Noma's Janus ; moreover since in
 //. BRONZE STATUARY 13

Syracusan bronze was also employed by Marcus Agrippa for the

capitals of the columns in his Pantheon. Wealthy individuals
even adopted this fashion for their private houses. The quaestor
Spurius Carvilius accused Camillus among other things of having 39' ^c-
had bronze plated doors to his house. doors.
The practice of using bronze for couches, side-boards and 14
tables supported on a single foot, was first introduced, according
f^y^lt^J^
by Gnaeus Manlius, after the conquest of Asia,
to Lucius Piso,
when he triumphed in the year of Rome 567 [187 B.C.]. Antias
adds that the heirs of Lucius Crassus, the orator, sold a number
of bronze coucTies. The cauldrons of tripods were also made of Delphic
bronze they were called Delphicae, because they were the gift
"^° ^'
;

most frequently dedicated to the Delphic Apollo. Hanging lamps Hanging

'^'"*^-
in shrines were also made of bronze, and lamps with the lights
fixed like apples on trees, as for instance, the lamp now in

the temple of Apollo of the Palatine, which Alexander the Great

carried off when he took Thebes, and dedicated, also to Apollo, 335 ^.c.

at Kyme.
Later on bronze was universally employed for statues of the 15
gods. I find that at Rome the first bronze image was made ^^^j"*/^/
in honour of Ceres out of the confiscated property of Spurius of mortals.
Cassius, who was put to death by his father because he aimed 484 b.c.
at becoming king. From figures of the gods, bronze came to be
used in various ways for statues and images of men. The

§§ 31, 2g, a whole series of portraits on the other hand, speaks of several
from the period of the Kings and statues. The story involves a com-
early Republic are mentioned, it is plicated problem. There is much to
irreconcilable with the theory that art commend the view of Gilbert, Rom ii,

progressed from the statues of gods to p. 243, note 2 s.f. that the consecration
those of men. Pliny is quoting from to Ceres, the special patroness of the

a variety of sources, without even plebeians, of the private property of

attempting to harmonize them. Cassius was an extension —more accu-
Cereri in her temple near the
: rately an ironic application (
Verhoh-
Great Circus, vowed by Aulus Postu- nung) of the lex sacrata for the pro-
mius the victor at Regillns, B.C. 49.^ ;
tection of the Trib. PI. (cf. Liv.iii, 55)
for its paintings and plastic decora- ut qui trib. fl. nocuisset eius caput
tions see XXXV, 154. loui sacrum esset ,
familia ad aedem
pater ipsius: cf. Liv. ii, 41, 10
17. Cereris Libert Liberaeque vemum iret

sunt, qui pairem auctorem eius sup- Dionys.x, 42 where the Patricians who
pliciiferant : eum cogitita domi causa offend against the assembly of the
verberasse ac necasse,peculiumque Jilii people convened under the Tribunes
Cereri consecravisse ; signum inde fac- are punished by confiscation of their
turn esse et inscriptum '
ex Cassia property to Ceres (rdr ovfrias avrSiv

familia datum.' Dionysios (viii, 79), Upas ilvu AqfuiTfoi),

 14 C. PLINII SECUNDI NAT. HIST. XXXIV
atque imagines multis modis. bitumine antiqui tinguebant
eas, quo magis mirum est placuisse auro integere. hoc
nescio an Romanum fuerit inventum, certe etiam Romae
16 non habet vetustatem. effigies hominum non solebant ex-
primi nisi merentium,
aliqua inlustri causa perpetuitatem s

primo sacrorum certaminum victoria maximeque Olympiae,

ubi omnium qui vicissent statuas dicari mos erat, eorum
vero qui ter ibi superavissent ex membris ipsorum simili-
17 tudine expressa, quas iconicas vocant. Athenienses nescio
an primis omnium Harmodio et Aristogitoni tyrannicidis lo
publice posuerint statuas. hoc actum est eodem anno quo
A.u.c. 245. et Romae reges pulsi. excepta deinde res est a toto orbe
terrarum humanissima ambitione, et in omnium municipiorum
foris statuae ornamentum esse coepere prorogarique memoria
hominum et honores legendi aevo basibus inscribi, ne in 15
sepulcris tantum legerentur. mox forum et in domibus
privatis factum atque in atris honos clientium instituit sic
colere patronos.
18 Togatae effigies antiquitus ita dicabantur. placuere et
nudae tenentes hastam ab epheborum e gymnasiis exem- 20
plaribus, quas Achilleas vocant. Graeca res nihil velare,

19. ita] ista Riccard., Voss. {e corr) ; sta Voss.

1. bitumine: in order to give a forboxing, 01. 59( = B.c. 544). Pans,

patina to the new bronze. vi, i8, 7.
2. auro: 82 xxxiv, 63.
xxxiii, 61, ; 7. ubi omnium ioonioas
. . .

Tlie custom of gilding statues was vocant Lessing has made these
:

known la Greece, cf. the gilt statue words the text for a famous passage
of Gorgias of Leontinoi, Pans, x, 18, in the Laokoon (ii, § 13). Visconti
7 (Plin. xxxiii, 83, where, however, {Iconograpkie Grecque, Discours pr^-
it is stated that the Gorgias was of lim. p. viii, n. 4) arguing from Lucian,
solid gold), and the gilt Phryne by v-nip tSiv (iic6vaiv xi, takes iconicas to
Praxiteles,Pans. x, 15,1; cf. Eliimner, mean 'grand comme nature'; Prof.
Technol. iv, p. 308 ff. Klein, however, in a note which he
4. non habet vetustatem: the kindly allows me to publish, points
oldest recorded Roman instance of a out that Pliny's statement bears an
f/a/«aa«?-atoistoM'.AciIiusGlabrio apocryphal character, which has es-
(B. c. 131), Liv. xl, 34, 6 quae prima caped every one save perhaps Eliimner
omnium in Italia est statua aurata. in his Comm. on Lessing's Laokoon,
§ 16. 6. Olympiae : the long p. 503. It is evident that the dis-
listof athlete statues began with the crepancies between ideal and iconic
ancient cypress wood statue of Praxi- statues were explained by Pliny,
damas of Aigina, who won the prize or his author, as the result of an
 //. BRONZE STATUARY 15

ancients tinted the figures with bitumen, which makes the later

them the more curious.

practice of gilding This may very well
be a Roman invention, and certainly even at Rome it is not of
great antiquity. The ancients did not make any statues ofie
individuals unless they deserved immortality by some distinction^
qI*"^!-"'*
originallyby a victory at some sacred games, especially those of
Olympia, where it was the custom to dedicate statues of all those
who had conquered, and portrait statues if they had conquered
three times. These are called iconic. (See Addenda.)
The Athenians were, I believe, introducing a new custom 17
when they set up statues at the public expense in honour '^^ ^^^lui-tors
Harmodios and Aristogeiton, who killed the tyrants. This
occurred in the very year in which the kings were expelled from 509 b.c.

Rome. A refined ambition led to the universal adoption of the

custom, and statues began to adorn the public places of every
town ; the memories of men were immortalized, and their honours
were no longer merely graven on their tombstones, but handed
down for posterity to read on the pedestals of statues. Later on
the rooms and halls of private houses became so many public
places, and clients began to honour their patrons in this way.
Formerly statues were dedicated wearing the toga. Nude 18
statues holding a spear were also in favour, modelled after young ^^^'^^^^^
men in the gymnasia ; these were called Achillean. The Greek statues.

improbable rule, simply because the toni : below § 70.

ancients had no habit of applying § 18. 19. tcgatae effigies : such

historical criticism to art, and con- as the statues of the kings, § 23.
sequently of discriminating between tenentes hastam
20. statues of :

the works of a, time when only the athletes in the scheme of the Poly-
type was aimed at, from those of kleitan Doryphoros, or leaning on
periods when art had advanced to their spear. Achilleas (fiom Achilles,
individual portraiture. It is instruc- the typical hero of the ephebes) a
tive to compare with Pliny's words a convenient generic term under which
passage in Dio Chrysostom, Or. xxi, to group such portraits, Furtwangler,
I TicpX KaWovs, where he attempts Plinius, -p. ,\.'j, note 11. The custom of
to explain the difference between portraying mortals other than athletes
the statues of an earlier and a later in heroic nudity during their lifetime,
date by alleging physical degene- seems to have been introduced by
ration. The difference observable in Alexander and his successors cf. the ;

the Olympic statues generally, dis- bronze portrait of a Hellenistic ruler

tinguished pre- from post- Lysippian in the Museo delle Terme (Helbig,
portraiture; as it is very well said in Class. Ant. 1052).
XXXV, 153 hie (Lysistratos) et simili- 21. Graeoa . . . addere: no pre-
tudines reddere instituit, ante eum cise historical information can be
quam pukherrimasfaeere studehatur. drawn from these words, which merely
§ 17. 10. Harmodio et Aristogi- contain a broad comparison between
 i6 C. PLINII SECUNDI NAT. HIST. XXXIV

at contra Romana ac militaris thoraces addere. Caesar

quidem dictator loricatam sibi dicari in foro suo passus est.

nam Lupercorum habitu tarn noviciae sunt quam quae

A.u.c. 617.nuper prodiere paenulis indutae. Mancinus eo habitu sibi
IS statuit quo deditus fuerat. notatum ab auctoribus et 5

L. Accium poetam in Camenarum aede maxima forma

statuam sibi posuisse, cum brevis admodum fuisset. eques-
tres utique statuae Romanam celebrationem habent orto
sine dubio a Graecis exemplo, sed illi celetas tantum dica-
bant in sacris victores, postea vero et qui bigis vel quadrigis 10

vicissent. unde et nostri currus nati in iis qui triumpha-

vissent. serum hoc, et in his non nisi a divo Augusto
seiuges, aut elephanti.
20 Non vetus et bigarum celebratio in iis qui praetura
functi curru vecti essent per circum, antiquior columnarum, 15

sicuti C. Maenio qui devicerat priscos Latinos, quibus ex

13. aut] E. Sellers; sicnt codii., Detlefsen.

the typical Greek athlete statues and fast tergum religatis manibus Veil.
the numerous Roman portraits of late Paterc. II, i, 5.

Republican and Imperial times. not. ab auetoribus : probably

I. thoraoea: the statue of Augustus the statue was no longer extant when
in the Vatican, Helbig, Class. Ant. 4, Pliny wrote.
well illustrates the combination of the § 19. 6. Ii.Aooium: the tragic poet,
military element with the nude athletic B.C. 170-103. There is no reliable
type. As a reminiscence of the athlete copy of the statue, EernouUi, Rom.
statues the legs are left bare, but the Iconographie, i, p. 289.
Emperor wears the cuirass, with the Camenarum = Musarum, in the
mantle rolled round below the waist. first region, Porta Cafena.
i. loricatam, sc. efflgiem: be- 10. postea vero : the notion that
longing to the class of statues just art progressedfrom the representations
mentioned, of which there are nume- of statues of horsemen to chariot-
rous examples, see Rohden in Bonner groups, is in harmony with the for-
Studien^^-p. 1-80. Very little is known malizing theories of the growth of art,
about this particular statue of Caesar hinted in § 9 and 515, but it is the in-
or the spot in his Fonim where it verse of fact (cf. Miinzer, op. cit. p. 502):
stood. Pliny the Younger {Ep. viil, the race with four-horsed chariots was
6, 14) says thata decree of the Senate introduced at Olympia, Ol. 25 (b. c.
in favour of Pallas, the freedman of 680), the race on horseback (iWor
Claudius, was put up ad sialuam KiKrii), 01. 33 (B. c. 648), and the race
loricatam divi Julii. with two-horsed chariots, 01. 93 (B. c.
• 3. IiupercoTum, i. e. with only a 408). The earliest monument of a
goatskin aboutthe loins, like the priests victor on his four-horsed chariot was
of Lupercus at the festival of the Lu- that of Kleosthenes of Epidamnos by
percalia (Ov. Fast, v, loi). Hagelaidas, Ol. 66 (B.C. 516), Pans,
5. quo deditus fuerat: nudus ac vi, 10, 2.
 //. BRONZE STATUARY 17

custom was to leave the body quite nude but the Roman and ;

military custom was to add a breastplate, while Caesar, when

Dictator, allowed a statue of himself wearing a cuirass to be set
up in his forum. Statues in the dress of the Lupercals are as Qg^^ill
recent an innovation as those lately introduced wearing short lius Man-
cloaks. Mancinus set up a statue in his own honour, wearing ""!^^J^
the dress in which he had been given up to the enemy. I find 19
it mentioned by some authors that Lucius Accius the poet set up Lucius
in his own honour in the temple of the Camenae a statue, which -Acaus.
was of great size, although he was a very small man.
Equestrian statues, which are so common at Rome, were Equestrian

undoubtedly first The Greeks, however,

borrowed from Greece.
only dedicated equestrian statues of thosewho had been victors
on horseback at the sacred games later on we find statues of ;

the victors in the two and four-horse chariot races. From this
arose our custom of setting up chariots in honour of those who Chariots.

had triumphed. Until recent times this was unknown, and

chariots drawn by six horses or by elephants were only introduced
by the god Augustus.
The erection of two-horse chariots in honour of those who as 20
praetors have led the procession round the Circus is also of late
date. The custom of erecting statues on columns is more ancient. Statues on
'"l""^"^-
witness the column in honour of Gaius Maenius, conqueror
of the Ancient Latins, a people to whom the Romans were G.Mamius.

II. currus Juv. viii, 3, mentions

:
it might be inferred tliat triumphal
the statue of a triumphator standing chariots weredrawn by elephants as
erect in his triumphal car in the early as Augustus, whereas this oc-
vestibulum. curred for the iirst time in the reign
13. seiuges: a gilt chariot, drawn of Alexander Severus, cf Aelius Lam-
by six horses, had already been dedi- pridius, Vita Al. Sev. 57, 4. The
cated to Jupiter Capitolinus in B. C. chariots drawn by elephants on early
i69,bytheConsuIP.Comelius(j«««^ej imperial coins refer to the Pompa
in CapitoHo auratilj-y.^x-xymtiij^)- circensis, Marquardt, Staatsverw. ii,

Pliny's meaning must be that under p. 586, note 7. Addenda.

Augustus the team of six horses was § 20. 15. per ciroum, sc. Maxi-
first used for other than religious mum, on the occasion of the Ludi
purposes. Mommsen, Staatsrecht, i, ^/o/ZiKarM, instituted B. c. 212. For
3rd ed. p. 395, n. i, points out that, the praetorial biga, cf. Mommsen,
according to Dio Cassius, lix, 7, Staatsrecht, i, 3rd ed., p. 394, note 4
Caligula was the first to drive in the pp. 412, 447.
circus with six horses : tA api^a t6 columnarum : from § 36 it is

nopmiKov . . Ai Umi tX\Kvaav t lOj- evident that the columnaeyttis statues

viivoTf i-^i'y6vH. placed on high pedestals.
elephanti : from Pliny's words 16. C. Maenio : cf. vii, 213. He
 i8 C. PLINII SECUNDI NAT. HIST. XXXIV

foedere tertias praedae populus R. praestabat, eodemque

in consulatu in suggestu rostra devictis Antiatibus fixerat
anno urbis item C. Duillio qui primus navalem
CCCCXVI,
A.u.c. 494. triumphum de Poenis, quae est etiam nunc in foro,
egit
21 item L. Minucio praefecto annonae extra portam Trige- 5

A.u.c. 315. minam unciaria stipe conlata nescio an primo honore tali —
a populo, antea enim a senatu erat —praeclara res, nisi

frivolis coepisset initiis. namque et Atti Navi statua fuit

A.u.c. 702. ante curiam — basis eius conflagravit curia incensa P. Clodii
A.u.c. 304. funere — fuit et Hermodori Ephesii in comitio, legum quas 10

22 decemviri scribebant interpretis, publice dicata. alia causa,

alia auctoritas M. Horati

quae durat hodie- Coclitis statuae,
A.u.c. 246. que, cum hostes a ponte sublicio solus arcuisset. equidem
et Sibyllae iuxta rostra esse non miror, tres sint licet una :

quam Sextus Pacuius Taurus aed. pi. restituit, duae quas 15

M. Messalla. primas putarem has et Atti Navi, positas

had conquered the Latins with Fnrius Monn. de la Rip. Rom., ii, p. 22S
Camillus additus triumpho honos,
; Mommsen, Rom. Miinzw. p. 550, no.
ut statuae equestres eis, rara ilia 265). Livy, iv, 16, 2, mentions only
aetate res, in foro ponerentur Liv. a gilt ox erected in honour of Minu-
viii, 13, 9. The statue of Camillus had cius.
stood on the old Rostra (§ 23), and praefecto annonae : Liv. iv, 12, 8,

was apparently still extant in the days cf Hirschfeld, Verwaltungsgeschichte,

of Pliny the Younger (see Paneg. 55, P- 134-
6). The exact site of the statue of 6. unciaria stipe collata: accord-
Maenius is unknovm, of. Jacobi, ing to Mommsen, Staatsrecht, iii,

Museographie, p. 60. p. 1185, note 3, this possibly means

I. ex foedere, i. c. the treaty con- that the expenses were met by volun-
cluded by Sp. Cassius in B. c. 493, tary contributions, whereas they other-
cf. Kom. Forsch. ii, p. 163, note 22. wise fell to the Aerarium.
Antiatibus the orator's plat-
i. : 8. frivolis, because the statue was
form was from that time called the set up in honour of the supposed
rostra (Liv. viii, 14, 12). For its miracles of the whet-stone (Liv. i, 36)
statues, see Gilbert, .ffoTO, p. 153, note 3. and of the Ficus ruminalis. For
3. C. Duillio: a portion of the in- Pliny's scepticism in these matters see
fcribed basis, restored in antiquity, XV, 77.
belonging to the columna Duilia, was Atti ITavi : he was represented
found in i565(Helbig, Class. Ant. $^1; as under average height, and wearing
C./.i. i, 195). the priestly fillet (Dionysios iii, 71,
4. de Poenis. After the battle S"). The statue stood on the left of
of Mylae, B. c. 260. the steps leading up to the curia
I 21. 5. L. Minuoio : his column, (Livy, loc. cil.). The mention of
surmounted by the statue, is shown on this statue, in confirmation of the
the reverse of a denarius of B. c. 129 statement antea eniTn a senatu, brings
of C. Minucius Augurinus (Babelon, with it a long digression, thoroughly
 II. BRONZE STATUARY 19

bound by treaty to give one third of the spoils taken in war.

In the same consulship, in the year of Rome 416 [338 B.C.], he
defeated the people of Antium, and fixed the beaks of The
^o^'^^-
their ships upon the platform in the forum. Another column, '

in honour of Gains Duillius, who enjoyed the first naval triumph c. Duil-

for his victory over the Carthaginians, is still standing in the forum. ^"" >
Another was set up outside the Porta Trigemina, in honour of 21
Lucius Minucius, chief commissioner of the corn supply, and Lucius
for it a rate of one twelfth of an as was levied. This was, ^^^"""'"^
439 BC.
I believe, the first time this honour was conferred by the people,
for previously it had been left in the hands of the Senate. Cer-
tainly the distinction were an honourable one save for the
slight grounds for which it was first conferred. For instance,
there was in front of the Senate House a statue of Attus statue of
Navius, the base of which was destroyed when the Senate House ^/'"f
, .
Navtus.
was burnt down at the funeral of Publms Clodius, and in the .^ ^ j,

comitium there was another, dedicated at the public expense, ol Hermo-

Hermodoros, the Ephesian, who expounded the laws drawn up ?^^^-^^
by the Decemvirs. Very different were the reasons which 22
entitled Horatius Codes to the statue which is still standing :
^oratius

single-handed he had held the Sublician bridge against the foe. 508 b.c.
Nor am I astonished that a statue, or even three statues, of the 755^ three
Sibyl should stand near the Rostra. One of these was replaced ^^h^^-
by Sextus Pacuvius Taurus, when plebeian aedile, and the two
others by Marcus Messala. I should consider these statues and

that of Attus Navius, which date from the reign of Tarquin the
Ancient, to be the earliest we have, were it not that on the Capitol

in Pliny's manner, on ancient statues the area Volcani Aul. Gell. iv, 5, i.

in Rome ; the subject of the statues Codes was represented full-armed,

raised on columns is not resumed till with perhaps an indication of his
§ 27. lameness, Dionysios v, 25 ; Plut. Publ.
fait, i.e. the statue had disappeared xvi.
when Pliny wrote. 14. iuxta rostra, i. e. the old ros-
10. Hermodori : cf. Strabo xir, tra. These new Sibyls are probably
p. 642; Cic. Tusc. Disp. 1, 36, 105. identical with the rpio <faTa mentioned
The statue presumably stood in front by Procop. De Bell. Goth, 25, p. 122, i,

of the old rostra, by the Twelve Tables as standing between the curia and the
upon which the laws were inscribed. temple of Janus (O. Gilbert, Rom, iii.

It had been removed in Pliny's day, p. 228, note 2).

cf. Jacobi, Museographie, p. 50. 15. Sextus Paouius Taurus,
§ 22. 12. Horati Coolitis : below probably identical with the trib. pi.,

§ 29. The statue stood in comitio B.C. 27.

Liv. ii, 10, 12 ; afterwards removed to

c a
 20 C. PLINII SECUNDI NAT. HIST. XXXIV
aetate Tarquinii Prisci, ni regum antecedentiutn essent in
23 CapitoHo. ex his Romuli et Tatii sine tunica, sicut et
Camilli in rostris. et ante aedem Castorum fuit Q. Marci
Tremuli equestris togata, qui Samnites bis devicerat capta-
A.u.c. 448. que Anagnia populum stipendio liberaverat. inter anti- 5

quissimas sunt et Tulli Cloeli, L. Rosci, Spuri Nauti,

A.D.C. 316. C. Fulcini in rostris, a Fidenatibus in legatione interfectorum.
24 hoc a re p. tribui solebat iniuria caesis, sicut aliis et P. lunio,

A.u.c. 524. Ti. Coruncanio, qui ab Teuta lUyriorum regina interfecti

erant. non omittendum videtur quod annales adnotavere 10

tripedaneasiis statuas in foro statutas. haec videlicet men-

sura honorata tunc erat. non praeteribo et Cn. Octavium
ob unum SC. verbum. hie regem Antiochum daturum se
responsum dicentem virga quam tenebat forte circum-
scripsit priusque quam
egrederetur circulo illo responsum 15
A.u.c. 592. dare coegit. qua legatione interfecto senatus statuam
in
poni iussit quam oculatissimo loco, eaque est in rostris.
25 invenitur statua decreta et Taraciae Gaiae sive Fufetiae
virgini Vestali, ut poneretur ubi vellet, quod adiectum
non minus honoris habet quam feminae esse decretam. 20
meritum eius ipsis ponam annalium verbis quodcampum :

Tiberinum gratificata esset ea populo.

I. regum. Cf. xxxiii, 9, 10, 24. 3. Q. Marci Tremuli: Liv.ix, 43,
in Capitolio: cf. Appian, 'E/i<^. 22 statua equestris in foro decreta
i, 16, where Tib. Gracchus is killed est quae ante temflum Castoris posita
bythe doors ofthe temple of Capitoline est; cf. Cic./I4z7. vi, 5, 13. Forapos-
Jupiter near the statues of the kings. sible echo of the statue see Mommsen,
§ 23. 2. sine tunica, i.e. wrapped Rom. Miinzw. p. 549, n. 263.
in the toga alone, cf. Aul. Gell. vi, gui . . . liberaverat ; these words
12; Asconius (on Cic. pro Scaur. 30) appear to come from an inscription
says that the younger Cato as praetor in Saturnine verse, qui bis devicit
used to lay aside the tunic ex vetere Samni -leis Anagniamque
| cepit ||

consuetudine, secundum quam et populum stipendi 6 liberavit (Urlichs|

Romuli et Tatii statuae in Capitolio in Chrestom. p. 307).

et in rostris Camilli fuerunt togatae 5. stipendio; according to the
sinetunicis. The difference of costume treaty concluded by Sp. Cassius in
shows that the statues of the kings were B.C. 486, the Hernicans had been en-
put up at different dates. Pliny's in- titled to a third of the war booty
formation seems derived from Verrius, on this clause see Mommsen, Rom.
ci. iL-a-^m, f<i tunica aurea triumphasse J^orscA. ii, t>. 167. n. 22.
Tarquinium Priscum Verrius docet. inter antiquissimas sunt : the
et Camilli see the passage from
: use of the present shows that
Asconius quoted above. Pliny is transcribing direct from his
 //. BRONZE STATUARY ai

we have the statues of Tarquin's predecessors. Among these the 23

figures of Romulus and Tatius are without the tunic, and so is ^»"««'
kings*
that of Camillus on the Rostra. In front of the temple of Castor
there also stood an equestrian statue of Quintus Marcius Tremulus q, m.
wearing the toga. He had conquered the Samnites in two battles, Tremulus.
and by taking Anagnia had freed Rome from payment of 306 b.c.
the war tax. The statues on the Rostra to Tullus Cloelius, Roman
Lucius Roscius, Spurius Nautius, and Gaius Fulcinus, ambassadors ,
'^f^''"f-'fj
killed by the people of Fidenae, are also among the earliest, by the
This honour was usually paid by the state to those who had P'-^^"'^'^^-
been killed in violation of the law of nations it was done in many 24 ;

cases, notably that of Publius Junius and Tiberius Coruncanius, 23° b-c.
who were put to death by Teuta, queen of Illyricum. It is '^Q'^^ Junius and
noticing that according to the annals the statues set up in the Tiberius
forum on these occasions were three feet high apparently this was canills. ;

the height in vogue in those days. I shall mention the statue of

Gnaeus Octavius, on account of one clause in the decree of the Cn.
Senate. King Antiochos had wished to delay an answer, where- '^'i'^'"""-
upon Octavius drew a circle round him with a rod which he
chanced to have in his hand, and compelled the king to give an
answer before he stepped outside the circle. Octavius was killed 162 b.c.
while on this embassy, and the Senate ordered a statue to be set
up in his honour in as visible a place as possible
'
the statue ' :

accordingly stands on the Rostra. I find a decree giving a statue 25

to Taracia Gaia or Fufetia, a Vestal virgin, to be placed where Taraaa '

she pleased,' a clause no less to her honour than the actual

dedication of a statue to a woman. According to the words of 1

the annals, which I will quote, she received these honours

'because she had presented to the people the field by the Tiber.'

author ; the statues had already dis- the last-mentioned statues, but also to
appeared in Cicero's time : Lars those of the ambassadors to the
Tolumnius rex Veientium quattuor Fidenates.
legates populi Romani Fidenis in- On. Oetavium, § 13, murdered
12.
teremit, quorum statuae steterunt at Laodicea in B. c. 162 cf. Cic. ;

usque ad meam memoriam in rostris. Phil, ix, 2, 4 statuam videmus in ros-

Phil. ix, i, 4. tris. By a confusion Plmy attributes
§ 24. 8. P. luBio, Ti. Corun- to Octavius an act performed by C.
canio. Polybios, ii, p. 131 (ed. Popilius Laenas, on the occasion of his
Biittner-Wobst), calls them Titos and embassy to Antiochus IV Epiphanes
AevKios (KopoyitdviOi). They had been in B. C. 168, Cic. Phil, viii, 8, 23 ; Liv.
sent to put down piracy on the lUyrian xlv, 12.
coast. § 25. 18. Taraciae Gaiae sive
II. tripedaneas refers not only to Fufetiae . . . populo : this curious
 C. PLINII SECUNDI NAT. HIST. XXXIV

26 Invenio et Pythagorae et Alcibiadi in cornibus comitii

A.u.c. 411. positas, cum hello Samniti Apollo Pythius iussisset

fortissimo Graiae gentis et alteri sapientissimo simulacra

A.u.c. 666. celebri loco dicari. eae stetere donee Sulla dictator ibi

curiam faceret. mirumque est illos patres Socrati cunctis 5

ab eodem deo sapientia praelato Pythagoran praetulisse

aut tot aliis virtute Alcibiaden et quemquam utroque
27 Themistocli. columnarum ratio erat attolli super ceteros
mortales, quod et arcus significant novicio invento. primus
tamen honos coepit a Graecis, nullique arbitror plures 10

statuas dicatasquam Phalereo Demetrio Athenis, siquidem

CCCLX statuere nondum anno hunc numerum dierum
A.u.c. 670. excedente, quas mox laceravere. statuerunt et Romae in

8. toUi onines praeter Bamb., Detlefsen.

statement is best examined in the light The privileges granted to Taracia are
of a passage from Aulus Gellius, vii, 7, simply the common privileges of all
1-4 Accae Lareniiae et Gaiae Taraciae, the Vestals ; in order to account for
sive iila Fufetia est, nomina in anli- these the story of the gift of the land
quis .nnnalibus celebria sunt. eai~um was adapted from the myth of Acca
alterae post mortem, Taraciae auiem Larentia. Taracia is in fact a mere
vivae amplissimi honores a populo double of Larentia her name betrays
;

Romano Taraciam quidem

habiti. et an evident connexion with Tamtius,
virginem Vestalem fidsse lex Horatia the Tuscan husband of Acca Larentia,
testis est, quae super ea ad populu7?i to whom he leaves the Ager Turax,
lata, qua lege ei plurimi ho^iores i.e. the Campus Tiberinus (Plut.^wK.
fiunt, inter quos ius quoque testimonii v.), which Larentia in turn bequeaths
dicendi tribuitur ' testabilis'^«r? ttna to the Roman people ; a genuine myth
omnium feminarum ut sit datur. id which has for kernel the fact that the
verbum est legis ipsiusHoratiae ; con- region of the Campus Martius had
trarium est in duodecim tabulis scrip- once been Etruscan (^see Plut. Publ.
tum improbns intestabilisque esto.
: viii, where the story of the gift and
praeterea si quadraginta annos nata the privileges is substantially the
sacerdotio abire ac nubere voluisset, same, but the name of the heroine is
ius ei potestasque exaugurandi atque TafKvvia; cf. Liv. ii, 5, 2 ager Tar-
nubendi factaestmunificentiae et bene- quiniorum). A statue was possibly
ficii gratia, quod campum Tiberinum put up to the mythical Vestal, bene-
sive Martium populo condonasset. factress of the Romans, but as no
Though the personality of Taracia is statue mentioned either by Gellius
is
clearly defined in this passage, it cannot or Plutarch (see Detlefsen, De Art.
be supposed that the region of the Rom. Ant. ii, p. 13), and as Pliny does
Campus Martius had been so late as not say he saw the statue, but merely
republican times in the possession of that the armals stated that one was
a single person, and that a Vestal decreed, it is probable that the statue
virgin close examination shows the
; only existed in the anecdote, and that
aitiological nature of the whole story. its mention represented what was
 11. BRONZE STATUARY 23

I find that statues of Pythagoras and Alkibiades were erected 26

at the corners of the comitium, after an oracJe of the Pythian
^^f^il'^^
Apollo, delivered in the course of the Samnite war, had ordered biades.
^43 ^.c.
honour of the bravest man of Hellenic birth,
that a statue in
and another in honour of the wisest should be dedicated in
a much frequented place. These statues remained until the
dictator Sulla built the Council Chamber there. It is strange 88 b.c.

that the Senate of the day chose Pythagoras in preference to

Sokrates, whom Apollo had declared to be wiser than all men,
or that they chose Alkibiades before many other brave men, and
in fact that they selected any one for either quality in preference
to Themistokles.
The use of the columns was to raise the statues above 27
ordinary men, and this is also the purpose of the arches which ^''^^" "f

have been recently introduced. The Greeks, however, were the raised on
first who conferred statues as a mark of honour, and '
I imagine '^"^"J""^
° and 071
that no man has had so many statues dedicated to him as arches.
Demetrios of Phaleron at Athens, inasmuch as three hundred Demetrios
and sixty were set up at a time when the year only contained "fP"^-
that number of days. All these statues were afterwards broken Gaiu's
up. At Rome too the tribes put up statues in every street in #"7f-f
dianus.
^''•
most likely another clause of the lex (§ 21), and rebuilt by Faustus Sulla, '^

Horatia, namely, the right of the son of the dictator.

Vestals to have their portrait-statues § 27. 8. columnarum : resumes
erected. O. Gilbert, Rom, ii, p. 112, the subject of § 21.
note 3. 9. arcus: on which stood statues and
The praenomen Gaia was given to chariots. The oldest known instance
Taracia in order to latinize her; is the arch or fornix of Q. Fabius
cf. Tanaquil, who also bore the Latin Maximus Allobrogicus (B.C. 120) of
names of Caia Cecilia. The alter- which remains are to be seen close to
native name Fufetia is according to the temple of Faustina. The simpler
Gilbert loc. cit. probably Etruscan, fornix developed into the elaborate
For the masculine Fufetius cf. the triumphal arches of the Emperors.
famousAlban dictator Melius Fufetius, 13. nondum, i. e. before thereform
Liv. i, 23, 4 &c. ofthe calendar by Julius Caesar. Add.
§ 26. I. Pythagoras et Aloib. 13. laoeravere on the entrance
:

in oornibus, en\ t^s dyopas Plut. of Demetrios Poliorketes into the

Num. viii. city, Strabo ix, p. 398 ; Diogenes

5. curiam : altered and enlarged Laertios v, 5, 75 f. Pliny evidently

by Sulla (n. c. 88), who caused many has this statement as to the number
of the statues in or in front of the curia of statues put up to Demetrios from
to be removed. This new curia was Varro (see Imagines, ap. Nonius,
burnt in B.C. 52, on the occasion of p. 528 M.); cf. Wachsmuth, Stadt
the riots at the funeral of Clodius Athen, p. 611, note i. Addenda.
 24 C. PLINII SECUNDI NAT. HIST. XXXIV
omnibus vicis tribus Mario Gratidiano, ut diximus, easdem-
A.u.c. 671. qug subvertere Sullae introitu.
28 Pedestres sine dubio Romae fuere in auctoritate longo
tempore, et equestrium tamen origo perquam vetus est
cum feminis etiam honore communicato Cloeliae statua 5

equestri, ceu parum esset toga earn cingi, cum Lucretiae

ac Bruto, qui expulerant reges propter quos Cloelia inter
29 obsides fuerat, non decernerentur. hanc primam cum
A.U.C.246. Coclitis publice dicatam crediderim —Atto enim ac Sibyllae
Tarquinium ac reges sibi ipsos posuisse verisimile est nisi — lo

Cloeliae quoque Piso traderet ab iis positam qui una opsides

fuissent, redditis a Porsina in honorem eius, e diverse Annius
Fetialis equestrem, quae fuerit contra lovis Statoris aedem
in vestibulo Superbi domus, Valeriae fuisse Publicolae con-
sulis filiae, eamque solam refugisse Tiberimque transnata- 15
visse ceteris opsidibus qui Porsinae mittebantur interemptis
Tarquinii insidiis.

30 L. Piso prodidit M. Aemilio C. Popilio iterum cos.

A.u.c. 69 .
^ censoribus P. Cornelio Scipione M. Popilio statuas circa
forum eorum qui magistratum gesserant sublatas omnis 20

praeter eas quae populi aut senatus sententia statutae essent,

eam vero quam apud aedem Telluris statuisset sibi Sp.
Cassius qui regnum adfectaverat etiam conflatam a censori-

I. Mario Gratidiano, ut dixi- Romans awarded the statue ; see

mus; xxxiii, 132; he introduced '^itz^, Rom. Annalistik,^. c^i.
a method of testing the i^««fl:ra issued 12. e diverse ... Valeriae: cf.
by the mint (cf. Cic. de Off. iii, 20, Plutarch, Publ. xix. The doubt as
80). According to Mommsen {Rom. to the name shows that the statue
Miinzw. p. 388) this would be insuffi- bore no inscription. Neither Pliny
cient to account for the almost divine nor Livy could probably have seen
honours paid to him ; it seems more it, since Dionysios (v, 35) speaks of
than probable that he also withdrew it as having disappeared in his day.
the plated coins from circulation. From Seneca {Consol. ad Marciam,
§ 28. 6. Lucretiae ao Bruto : 16) and Plutarch lac. cit., it appears
of the statue of Lucretia nothing that it was restored at a later date
more is known. The statue of Brutus (cf. Urlichs, Qaellen-Register, p. 5).
stood near those of the kings (§23) Annius Fetialis : only known
oji the Capitol ; see Plut. Brutus, i, from Pliny {Indices to xvi, xxxiii,
where the statue is described as hold- xxxvi).
ing a drawn sword. 13. lovis Statoris, ii, 140. The
§29. II. ab iis qui ... fuissent temple stood on the Sacred Way,
Livy {loc. cit.) says simply that the at the commencement of the Clivus
 // BRONZE STATUARY 25

honour of Gaius Marius Gratidianus, as I have said, and over-

threw them again when Sulla entered the city. S3 b.c.
It is certain that standing statues were customary in Rome at 28
a very early date. Still the first equestrian statues are extremely ^1'^^'"''''

old, and women shared the honour of them with men when antiquity ,.

Cloelia, as if it were not enough that she should be

^^-"(^^""f"^
presented wearing the toga, was granted such a statue, though equestrian
none were given to Lucretia and Brutus, and yet they had ^*°*"'^
''^'
expelled family for whose "^
that royal interests Cloelia was a
hostage. I should readily believe this statue and that of Codes 29
to be the first dedicated by the state (for it is probable that Tar- 5°^ b.c
quinius set up those to Attus and the Sibyl, and that the kings
each set up their own), were it not for Pise's statement that the
was raised by her fellow-hostages, who were sent
statue to Cloelia
back by Porsenna in honour of her. Annius Fetialis on the other
hand says that the equestrian statue which stood opposite the
temple of Jupiter the Upholder in the vestibule of the house of
Tarquin the Proud was that of Valeria, the daughter of the consul Valeria.

Publicola. She alone, he says, escaped and swam across the

Tiber, while the other hostages sent to Porsenna were treacherously
killed by Tarquinius. Lucius Piso states that in the second con- 30
sulship
*^
of Marcus Aemilius and Gaius Popilius
^ all the statues of If^ ^•'^, ,
Kemoval of
magistrates standing round the forum, except those which had been statues of
set up
'^
in accordance with a decree of the people or of the Senate, ^"'^p^t'>'<j*^J
'^ '^ not erected '
_

were removed by the censors Publius Cornelius Scipio and Marcus by a decree
Popilius.
^ The one near the temple
'^
of Earth, set up '
in his own ^'ff
. .
people or .

honour by Spurius Cassius, who aimed at the kingship, was further the Senate.
melted down by the censors ; thus even in the matter of a statue

/'atom«i', near the arch of Titus; the ended at conflatam. For the duties
house of Tarquin was close to it (Liv. of censors as regards the removing of
i, 41, 4), cf. Liv. ii, 13, 11 in summa statues, cf. Mommsen, op. cit., p. 443.
sacra via fuit posita virgo insidens As there were, however, no censors
equo, without any closer definition of in the days of Spurius Cassius
the spot. (officecreated B. c. 445), we must con-
§ 30. 21. praeter eas : the measure elude that Pliny's account is incorrect,
would be intended to prevent the AccorAingtoMommssa^Rotn.Forsch-
crowding of public places by statues ungen, ii, p. 167, note 28) Piso,
put up by private individuals (Joca inreconntingtheeventsof A.u.c. 596,
iueri) ; Mommsen, Staatsrecht, ii, may have stated that Sp. Cassius had
p. 437, cf. Liv. xl, 51, 3. set up a statue in his own honour on
conflatam a censoribus not
23. : the spot where at a later date stood
of course by the censors mentioned the temple of Tellus (vowed B. c. 268
above, or the sentence would have and ded. B. c. 252 by P. Sempronius
 26 C. PLINII SECUNDI NAT. HIST. XXXIV
bus. nimirum in ea quoque re ambitionem providebant
31 illi viri. exstant Catonis in censura vociferationes mulieribus
A.u.c. 570.
g^g^^y^g Romanis in provinciis poni. nee tamen potuit in-

hibere quo minus Romae quoque ponerentur, sicuti Corneliae

Gracchorum matri, quae fuit Africani prloris filia. sedens 5

huic posita soleisque sine ammento insignis in Metelli publica

quae statua nunc est in Octaviae operibus.
porticu,
32 Publice autem ab exteris posita est Romae C. Aelio
tr. pi. lege perlata in Sthennium Stallium Lucanum qui
A.u.c. 469.

Thurinos bis infestaverat. ob id Aelium Thurini statua et 10

corona aurea donarunt. idem postea Fabricium donavere

A.u.c. 472. statua liberati obsidione, passimque gentes in clientelas ita
receptae, et adeo discrimen orane sublatum ut Hannibalis
etiam statuae tribus locis visantur in ea urbe cuius intra
A.u.c. 543. muros solus hostium emisit hastam. is

33 Fuisse autem statuariam artem familiarem Italiae quo-

que et vetustam indicant Hercules ab Evandro sacratus,
ut produnt, in foro boario, qui triumphalis vocatur atque
per triumphos vestitur habitu triumphali, praeterea lanus
geminus a Numa rege dicatus, qui pacis bellique argumento 20

colitur digitis ita figuratis ut CCCLXV dierum nota per

3. Romanis statuas omnes praeter Bamb., Detlefsen.

Sophus), and that this statue was on the site of the porticus Octaviae
melted down when he was con- it is inscribed {a) Opus Tisicratis,
demned —some such statement mis- (i) Cornelia Africani ff^Va) Graccho-
leading Pliny into the double error of i-um (sc. mater), {b) is the earlier
supposing (i) that the statue stood in inscription ; it is probable that the
the temple of Tellus, (2) that the statue of Cornelia was destroyed in
second measure recounted above was, the great fire of A. D. 80, after which
like the first, carried out by censors, the basiswas used a second time for
whom he was naturally at a loss to some copy of a work of Teisikrates
name. (§ 67), Lowy, /. G. B. 493. Cf.
i. illi viri ; used by Pliny to cover Bernoulli, Rdm. Iconogr. i, p. 72 if.

his ignorance of the censor's names. From the shape of the basis, Cornelia
§ 31. mulieribus: cf.Cato's speech appears to have been represented
on the Lex Oppia, as narrated by seated, in the scheme familiar from
Livy, xxxiv, 2-4 for his dislike of; the so-called statues of Agrippina.
statues in general cf. the anecdote 6. MetelU porticu .erected
. . :

told by Plutarch, J>raec. Gerend. Reip. by Q. Metellus Macedonicus after his

xxvii, B (Bernardakis, v, p. 1 15). triumph B.C. 146. On its site Augustus
4. Corneliae: vii, 57; Plutarch built in honour of his sister the famous
C. Gracchus, iv. The rectangular porticus Octaviae.
basis of this statue was found in 1878 § 32. 9. lege perlata : this measure
 //. BRONZE STATUARY 27

they provided against possible ambition. We know the protests 31

of Cato, in his censorship, against the statues set up to Roman "84 b.c.

women in the provinces, and yet he could not prevent their being Cato'the
set up in Rome itself, for example to Cornelia the mother oi Censor
the Gracchi and daughter of the elder Africanus. a seated ftatml of It is
figure, remarkable as having shoes without thongs, which was women.

formerly in the public colonnade of Metellus and is now in

the galleries of Octavia.
The first statue set up at Rome at the cost of a foreign S2
nation was to Gaius Aelius, tribune '
of the people.
I- r He had ^'"'"'^j
erected by
. .

carried a law against Sthennius Stallius Lucanus, who had on t'^o foreign
occasions molested the people of Thurii. They in return pre- "*^^^-^

sented Aelius with a statue and a golden crown, and later on

also gave a statue to Fabricius, who had delivered them from 2S2 b.c
a siege. This method of receiving a people into clientship
became very general, and all distinction was so completely lost
that statues of Hannibal can be seen in three places in a city statues of
within whose walls he, alone among its enemies, has hurled his Hannibal
Rome. m
spear. 211 b.c.
That there was an ancient art of statuary, native to Italy, 33
is proved by the tradition which assigns to Evander the con-'lr'J^^^

secration of the Hercules in the Cattle Market, which is known statuary.

as the triumphal Hercules and draped at every triumph in Hercules.
a triumphal robe. There is moreover the two-headed Janus p""-
dedicated by King Numa, which is honoured as marking -peace jatius.
or war; his fingers are bent to form 365, which is the number of

is mentioned only in this passage near the curia at the N.E. end of the
nothing further is known of this statue Forum. The head ofthe statue appears
or that of Fabricius. on the oldest Roman libral asses
1 3. Hanuibalis brought either: (Roscher s. v._/aK«J, Mommsen,/i'^OT.
from Carthage or from Asia Minor. Munzw. p. 175). One of the faces
§ 33. 16. statuariam: seeon^i?>-e«- looked towards the West and the
ticen in § 54. Great Forum, the other towards the
Hercules in the ancient shrine
17. : East and the Forum Julium (cf. Pro-
(Tac. Ann. xv, 41 magna arafanum-
: cop. Bell. Goth, i, 25).
que, quae praesenti Herculi Areas 20. pacts bellique arg. : indicem
Evander sacraverat) near to which, facts bellique fecit Liv. i, 19, i.

at a later date, was built the roimd 21. digitis ita figuratis : this
temple of Hercules, which contained curious statement is confirmed by
the paintings of Pacuvius ; Peter ap. Macrobius, Sat. i, 9, 10, and John
Roscher, i, 291 1 ff. ; cf. note on xxxv, Lydos, mpl /irjvwv, i, 4. A number of
19), and below on § 33. ingenious explanations are quoted in
19. lanus geminus : in his temple Hardouin's note on the passage.
 aS C. PLINII SECUNDl NAT. HIST. XXXIV
significationem anni temporis et aevi esse deum indicent.

34 signa quoque Tuscanica per terras dispersa quin in Etruria

factitata sint non est dubium. deorum tantum putarem ea
fuisse, ni Metrodorus Scepsius cui cognomen a Romani
A.u.c. 489. nominis odio inditum est propter statuarum Volsinios MM 5

expugnatos obiceret. mirumque mihi videtur, cum sta-

tuarum origo tam vetus Italiae sit, lignea potius aut fictilia
deorum simulacra in delubris dicata usque ad devictam
35 Asiam, unde luxuria. similitudines exprimendi quae prima
fuerit origo, in ea quam plasticen Graeci vocant dici con- 10
venientius erit, etenim prior quam statuaria fuit. sed haec
ad infinitum effloruit multorum voluminum operi, si quis
plura persequi velit, omnia enim quis possit ?
36 M. Scauri aedilitate signorum MMM in scaena tan-
A.u.c. 695.
^yjj^ fuere temporario theatro. Mummius Achaia devicta 15

A.u.c. 608. replevit urbem non relicturus filiae dotem. cur enim non
cum excusatione ponatur? multa et Luculli invexere.
Rhodi etiamnum LXXIII signorum
Mucianus ter esse
COS. prodidit, nee pauciora Athenis, Olympiae, Delphis

37 superesse creduntur. quis ista mortalium persequi possit 20

aut quis usus noscendi intellegatur ? insignia maxime et
aliqua de causa notata voluptarium sit attigisse artificesque
celebratos nominavisse, singulorum quoque inexplicabili
multitudine, cum Lysippus MD opera fecisse prodatur,
tantae omnia artis ut claritatem possent dare vel singula, 25
numerum apparuisse defuncto eo, cum thensaurum effre-
gisset hereSj solitum enim ex manipretio cuiusque signi
12. operi Bamb. ; opere reliqut, Detlefsen. 18. LXXIII] Bamb. Rice.
LXXIII Voss. {teste Detlefsen) ; numerus aferte corruftus.

I .
aevi esse deum : aiad. toC aiwos of olive wood in the Erechtheion at
naripa, John Lydos, loc. cit. Athens, Pans, i, 26, 6 ; 27, I ; ii,

§34. 4. Metrodorus Soepsius : 25, j, &c.

bom about B.C. 145 ; MuUer, F. H. G. fictilia : xxxv, 157.
iii, pp. 202-205; Susemihl, Griech. §35. 11. prior quam statuaria
Lit. in der Alexandr. Z.eit, ii, p. since bronze statue presupposed
a
352 'f- a clay model, note on xxxv, 153.
lignea in Italy, as in Greece,
7. :
§ 36. 14. M. Scauri aedilitate
statuary began with the wooden idols viii, 64, xxxv, 127. For the theatre
which not unfrequently remained see xxxvi, 5, 50, 113-115, 189; it
objects of worship even in the greatest was erected in the Campus Martius,
periods of art, e. g. the Athene Polias but the exact spot is unknown.
 //. BRONZE STATUARY 29

days in the year, and by thus indicating the year they mark him
as the god of time and the age. We also find, scattered in 34
dififerent statues in the Tuscan style, which must
countries,
certainly have been made in Etruria. I should incline to think
that these were only figures of the gods, did not Metrodoros of
Skepsis, whose other name of /uio-opm/iaio? or Roman-Hater was

given him from his hatred of Rome, accuse us of having taken

Volsinii for the sake of its two thousand statues. To me it seems 365 b.c.
strange that, though statuary in Italy has so ancient an origin, ^^'^S^^ "f
the images of the gods dedicated in the shrines were by preference term-cotia
made of wood or of terra-cotta until the conquest of Asia intro- P^'^fi/^ed
m the
duced luxury. It will be better to speak of the origin of the model- temples.
ling of portraits when we treat of the art which the Greeks call
^^

TrXao-TiKij, as it is earlier than statuary. The latter art has been

infinitely developed; a fuller discussion would require many

volumes, an exhaustive treatise is scarcely possible.
Marcus Scaurus in his aedileship adorned the stage of a mere 36
temporary theatre with three thousand statues. Mummius filled ^^ ^/^' .

all Rome
with sculpture after his conquest of Achaia, and yet Theatre of
^'^'''''^
I must add in his favour that he eventually died too poor to

leave his daughter a dowry. The Luculli too brought over a 146 b.c
number of statues ; still to be seen at
seventy-three thousand are a.d. 67, 70,
'^'
Rhodes, according to Mucianus, who was three times consul,
and it is supposed that at least as many still remain at Athens,
Olympia and Delphoi. A detailed knowledge of all these is 37
unattainable and would moreover serve no purpose ; still I should
like to touch on the most famous, and those which any par-
ticular circumstance has made noteworthy, and to name the
illustrious artists. Even the works of individual sculptors are
too numerous to be catalogued; Lysippos, for example, is said to 1500
have made fifteen hundred pieces of statuary, all of such merit /^'"lij'f
that any one alone would bring him fame. Their number was

15. Achaia deviota: xxxiii, 149. ed. Schoene, p. 139: templa Rho-
16. dotem: cf. Frontinus, Strateg. diorum depopulaius est Cassius, but
iv, 3, 15. from Pliny it appears that the
17. et Luculli: i.e. L. Licinius, plundering cannot have been so
the conqueror of Mithridates, cos. B. c. thorough as set forth either by Appian
74 (xxxv, 125, 155), and his brother iiitj>vK. iv, 81, Val. Max. i, 5, 8, or
Marcus, below §39; cos. B.C. 73; Orosius, vi, 18, 3.
triumphed B.C. 71. Mucianus : see Introd. p. Ixxxv.
18. Ehodi etiamnum : Jerome § 37. 24. Lysippus : the anecdote
(see Addenda) Chron. 01. 184, 4, of the money-box may be traced
 30 C. PLINII SECUNDI NAT. HIST. XXXIV
38 denarios seponere aureos singulos. evecta supra humanam
fidem ars est successu, mox
argumentum et audacia. in
successus unum exemplum adferam, nee deorum hominumve
similitudinis expressae. aetas nostra vidit in Capitolio,
A.u.c. 822. priusquam id novissime conflagraret a Vitellianis incensum, 5

in cella lunonis canem ex acre volnus suum lambentem,

cuius eximium miraculum et indiscreta veri similitudo non
eo solum intellegitur quod ibi dicata fuerat, verum et satis-
datione, nam quoniam summa nulla par videbatur, capita
tutelarios cavere pro ea institutum publice fuit. 10
39 Audaciaeinnumera sunt exempla. moles quippe
excogitatas videmus statuarum, quas colossaeas vocant,
turribus pares, talis est in Capitolio Apollo tralatus a
A.u.c. 681. M. LucuUo ex Apollonia Ponti urbe, cubitorum, XXX
40 D talentis factus, talis in campo Martio luppiter a Claudio 15

Caesare dicatus, qui devoratur Pompeiani theatri vicinitate,

talis et Tarenti factus a Lysippo XL cubitorum. mirum in
eo quod manu, ut ferunt, mobilis — ea ratio libramenti est
nullis convellatur procellis. id quidem providisse et artifex
dicitur modico unde maxime flatum opus erat
intervallo, 30

frangi, opposita columna. itaque magnitudinem propter

difficultatemque moliendi non attigit cum Fabius Verru-
A.u.c. 545. cosus, cum Herculem qui est in Capitolio inde transferret.
41 ante omnis autem in admiratione fuit Solis colossus Rhodi,

back to Duris, below § 51 ; Introd. 9. capite: cf. xxxvi, 29 . . . capi-

p. xlviii. tali satisdatione fama iudicet dignos
denarios
I. the Roman golden
: (i. e. two statuary groups),
denarius was worth about (.1, but the § 39. 13. Apollo: KdKa/uSos epyov.
reference here must be to the araTrip^ Strab. vii, p. 319.
16s. nearly. Introd. p. Ixxxiv. | 40. 15. a CI. Caesare. Claudius
§ 38. 4. in Capitolio : after the restored the theatre of Pompeins
temple had been burnt down in B.C. 83, after a. fire, and probably dedicated
Sulla undertook its reconstruction, the Jupiter on the same occasion. Tac.
which was eventually carried out by Q. ^nn. iii, 72.
Lutatius Catulus, who dedicated the 16. Pompeiani theatri ; near the
new temple in B. c. 69. It was burnt Great Circus,
again a Vitellianis, Tac. Hist, in, 71. 17. factus a Lysippo : it repre-
6. in cella lunouis on the ; sented Zeus, and according to Strabo,
right of the central cella of Jupiter p. 278, was the tallest colossus after
the cella on the left was dedicated to that of Rhodes.
Minerva.
 //. BRONZE STATUARY 31

discovered when his heir broke open his money-box after his

death, for it was his custom to lay by a piece of gold out of the
price he received for each statue.
Art has made extraordinary progress, in technique first and 38
afterwards in audacity. As an example of successful technique £,^'™"jj
I shall mention a figure representing neither god nor man. Be-
fore the last fire on the Capitol, caused by the soldiers of Vitellius, a.d. 69.
our own generation could see in the temple of Juno a bronze
dog licking its wound : the wonderful workmanship and Bronze
''^'
absolutely life-like treatment are sufficiently proved not only by
the sacred spot where the work was dedicated, but also by the
unusual guarantee demanded for it. No sum of money was
considered equivalent : it was a public ordinance that the curators
should pledge their lives for its safety.

Of audacity countless instances can be given. For example 39

artists have conceived the idea of gigantic statues called colossi,
/^w * //(,

as tall as towers. Of this class is the Apollo in the Capitol, in the

brought from Apollonia in Pontos by Marcus Lucullus ; it is j^^f"

forty-five feet high, and cost five hundred talents [;^i 20,000]. {h) Jupiter

Another is the Jupiter dedicated in the Field of Mars by Claudius ^-/^f r

Caesar, which, however, is dwarfed by its proximity to the theatre Jfew.

of Pompeius. Yet another is the Zeus at Tarentum by Lysippos, 40

which is 40 cubits [58 ft.] in height and is noteworthy because the ^P ^T^^-''
weight is so nicely balanced that the colossus can, they say, be turned at Taren-
'""*"
round by a touch of the hand, and yet cannot be overthrown by the
wind. The artist is said to have provided against this by placing
a column a little way off, on the side where it was most necessary
to break the violence of the wind. The size of the statue and the ^ ^
difficulty of transporting it prevented Fabius Verrucosus from (d) Hera-
although he brought the Herakles in the Capitol from c"J//J
"
touching it,

Tarentum. The most marvellous of all, however, is the statue 41

mirum . . . procellis : periegetic Fabiiis himself (Phit. i^ai. ^ajr.xxii),

explanation. which he doubtless set up in imitation
22. non attigit Fabius: cf. Liv. ofCarvilius.
xxvii, 16, 8. § 41. 24. ante omnis ... in ad-

23. Herculem Avai-mrov : ijrjov, miratione cf. hue. /tip. Trag. 11.
:

Strabo, loc. cit. The hero was repre- It was even reckoned among the Seven

sented without weapons and seated, Wonders of the world. The notion
head on his left hand cf.
resting his ; that it stood with one foot on each of
Niketas Akominatos de signis Con- the moles which formed the entrance
stantinop., p. 859. Near the Hercules to the harbour while ships passed full

stood a bronze equestrian statue of sail between its legs was unknown to
 32 C. PLINII SECUNDI NAT. HIST. XXXIV
A.u.c. 527. quern fecerat Chares Lindius, Lysippi supra dicti discipulus.
LXX cubitorum altitudinls fuit. hoc simulacrum post LVI
annum terrae motu prostratum, sed iacens quoque miraculo
est. pauci pollicem eius amplectuntur, maiores sunt digiti
quam pleraeque statuae. vasti specus hiant defractis mem- 5

bris, spectantur intus magnae molis saxa quorum pondere

stabiliverat eum duodecim annis tradunt effec-
constituens.
tum CCC talentis quae contigerant ex apparatu regis
42 Demetrii relicto morae taedio opsessa Rhodo. sunt alii
centum numero in eadem urbe colossi minores hoc, sed lo

ubicumque singuli fuissent, nobilitaturi locum, praeterque

43 hos deorum quinque quos fecit Bryaxis. factitavit colossos
et Italia, videmus certe Tuscanicum Apollinem in biblio-
theca templi Augusti quinquaginta pedum a pollice, dubium
aere mirabiliorem an pulchritudine. fecit et Sp. Carvilius 15
A.u.c. 461. lovem qui est in Capitolio victis Samnitibus sacrata lege

pugnantibus e pectoralibus eorum ocreisque et galeis. ampli-

tudo tanta est ut conspiciatur a Latiari love, e reliquiis
limae suam statuam fecit quae est ante pedes simulacri eius.
44 habent in eodem Capitolio admirationem et capita duo quae 20

A.u.c. 697. P. Lentulus cos. dicavit, alterum a Charete supra dicto

factum, alterum fecit . . . dicus conparatione in tantum victus
45 ut artificum minime probabilis videatur. verum omnem
amplitudinem statuarum eius generis vicit aetata nostra
Zenodorus Mercurio facto in civitate GalHae Arvernis per 25

the ancients, and arose in the Middle p. 60. Introd. p. Ixxxvii.

Ages. See Cecil Torr, Rhodes in 8. ex apparatu : Pint. Demetr. 20.
Ancient Times, -p. ^6 i. 9. opsessa Rhode; vii, 126;
2. LXX cub. altitudinis pre- : xxxv, 104, 105.
sumably from Varro, the measurement 5 42. 12. Bryaxis: below, § 73.
being practically identical with that § Tuscanicum ApoUinem:
43. 13.
given by Vibius Sequester {^Colossus from what we know of Etniscan work-
Rhodi CF), who is known
alius pedes manship, Pliny's admiration must be
to have drawn from Varro, Urlichs, prompted by patriotism.
Quellen-Reg. p. 11. in bibliotheoa belonging to
:

hoc simulacrum . . . Bryaxis the temple of Augustus (xii, 94),

th% picturesque desciiption of the built by Tiberius and Livia in B.C.
prostrate colossus, and the mention of 14, Die Cassius, Ivi, 46 cf. Suet.
;

the hundred other colossal statues in Tib. 74 in bibliotheca templi novi.

Rhodes, have been rightly referred to Gilbert, Rom, iii, p. I2i, n. 3 it also ;

Mucianus by Brieger, de Font. Plin. contained, besides the customary busts

 //. BRONZE STATUARY 33

of the Sun at Rhodes, made by Chares of Lindos, a pupil of the (e) Colossus

,,.,_
Lysippos already mentioned. was seventy cubits [102 feetl in f^^f^"
T,-„„
height, and after standmg for fifty-six years was overthrown by an
It
Chares
of lindos.
'by
earthquake, but even as it lies on the ground it arouses wonder, b.c 227.
Few men can clasp their arms about its thumb, its fingers are taller
than most statues and wide caverns gape within its broken limbs,
while inside can be seen huge fragments of rock, originally used
as weights to steady it. According to tradition, its construction
lasted twelve years, and cost 300 talents [£72,000], contributed
by the Rhodians out of the siege-train left with them by King 42
Demetrios when he wearied of the siege of Rhodes. There are Other
a hundred smaller colossal statues in this city, any one of which
"t^f^l at
would have made famous the place it adorned, besides five Rhodes.
representing gods, made by Bryaxis. In Italy too colossal
^^y^^^
statues have been made ; we have before our eyes the Tuscan 43
Apollo, in the library of the temple of Augustus, which mea- Tuscan
^^''"''
sures 50 feet from its toe. It is not easy to say whether the
beauty of the statue or of the bronze is the more worthy ol JJ^^^ ^^
wonder. After the victory over the Samnites, who fought Italy-

bound by a solemn vow, Spurius Carvilius made from their b.c. 293.
breastplates, greaves, and helmets the Jupiter in the Capitol, /«/«V«?-.
a statue large enough to be visible from the temple of Jupiter
Latiaris. From the filings he made a statue of himself, to .

stand at the feet of the other. Two heads, also placed on the Colossal
"^'^"'"•
Capitol, deserve to be admired. They were dedicated by
Publius Lentulus : one is the work of the Chares mentioned
above, the other is by . . . dikos, who however suffers by
the comparison so as to seem a most unattractive artist. In 45
our own times however Zenodoros exceeded the proportions Zenodoros.

of all other statues of this class. His Mercury was made in His
''''"'')'
Gaul, in the state of the Arverni; he spent ten years upon

ofillustrious men, a statue of Minerva, later date, and that Pliny, or his
Plin. fii, 210. author, confused the first and second
16. viotis Samnitibus : cf. Liv. consulship of Carvilius.
X, 38-46. It is at least curious that 18. Xiatiari love : on the Mons
Livy in his elaborate accoxmt of the Albanus (Monte Cavo).
triumph of B.C. 293 should only men- 5 44. 21. Charete supra dicto :

tion the temple of Fors Fortuna (x, in §41. Pliny is the only author who
46, 14) as erected out of the booty. mentions any worli of Chares besides
A. Schaeffer (Comm. phil. in hon. the Colossus.
Momms. p. 7) accordingly supposes § 45. 25. Zenodorus : perhaps an
the statue to have been set up at a Alexandrian established in Uaul, see S.
 34 C. PLINII SECUNDI NAT. HIST. XXXIV
annos decern, HS [CCCC] manipreti, postquam satis artem
ibi adprobaverat, Romam accitus a Nerone, ubi destinatum
illius principis simulacro colossum fecit CXIXS pedum
longitudine, qui dicatus Soli venerationi est damnatis sceleri-
48 bus illius principis. mirabamur in officina non modo ex 5

argilla similitudinem insignem, verum et de parvis admodum

surculis quod primum opens instaurati fuit. ea statua
indicavit interisse fundendi aeris scientiam, cum et Nero
largiri aurum argentumque paratus asset et Zenodorus
scientia fingendi caelandique nulli veterum postponeretur. lo

47 statuam Arvernorum cum Dubio Avito faceret provinciae

praesidente, duo pocula Calamidis manu caelata, quae Cassio
Salano avonculo eius praeceptori suo Germanicus Caesar
adamata donaverat^ aemulatus est ut vix ulla differentia
esset artis. quanto maior Zenodoro praestantia fuit, tanto 15

magis deprehenditur aeris obliteratio.

48 Signis quae vocant Corinthia plerique in tantum capiuntur
ut secum circumferant, sicut Hortensius orator sphingem
Verri reo ablatam, propter quam Cicero illo iudicio in
altercatione neganti ei aenigmata se intellegere respondit 20

debere,quoniam sphingem domi haberet. circumtulit et

Nero princeps Amazonem, de qua dicemus, et paulo ante
3. CXIXS] Urlichs in Chrestom. Plin. ; CVIS Detlefsen ;
qui nonagiuta
Bamb.
Reinach, Bronzes Figuris de la Gaule Hercules, which were afterwards re-
Romaine, p. 12, who shows that the moved (AeliauLamprid. Ce»2?»0(/. 17,
name is met with principally in Syria 10). The size of the Neronian colossus
and Egypt. became proverbial, C. I. L. viii, i,
Arvernis where Mercury had a
: 212, p. 36, 1. 82. Cf in xxxv, 51,
celebrated ritual in his temple on the the colossal painted portrait of Nero.
Puy de D8me see Addenda.
; § 46. 5. mirabamur : practically
3. colossum : in the vestibule of the only instance where Pliny speaks
the Golden House, Suet. Nero, 31. from personal observation.
4. dicatus Soli venerationi : i. c. in officina sc. aeraria, : cf. below,
by Vespasian, Suet. Vesp. 18, who set § 134 ; xvi, 23 ; xviii, 89 ; C. I. L. vi,
up the colossus on the Sacred Way, 8455, &c. Addenda.
DioCassius, 66,15; Marti.il, .S^crf. 2, 6. argilla i.e. the ; irpowKacrna,
1,71,6. The basis may still be seen 2« cf. xxxv, 155.
niu between the temple of Venus and 7. surculis : the surculi must, I
Rome and the Colosseum. Com- think, be the Tpvn-rniaTo. or wax tubes
modus replaced the head by a portrait with which the wax model was
head of himself (Herodian, i, s, 9), covered previous to its being cased
and gave to the statue attributes of in loam; these tubes were intended
 // BRONZE STATUARY 35

it and received in payment forty million sesterces [£350,000

circ.J. After he had won his reputation in Gaul, Nero sum- ms colossal
moned him to Rome, where he made a colossal statue 11 94 feet
^"'''•

in height. It was originally intended to represent the Emperor,

but after Nero's crimes had met with their punishment, it

was dedicated to the worship of the Sun. In his workshop 46

our wonder was excited not only by the extraordinary likeness
in the clay model, but by the slender tubing which was the
first stage towards the completion of the work. This statue
proved that the secret of the composition of bronze was lost,

since Nero had been ready to provide the gold and silver,
and in modelling and chasing Zenodoros was the equal of any
ancient artist. When he made the statue for the Arverni, during 47
the governorship of Dubius Avitus, he imitated two cups, chased -^* "P^^^

by the hand of Kalamis, which Germanicus Caesar had prized byKalamis.

very highly, and had given to Cassius Silanus his tutor, the
uncle of Dubius, with such nicety that scarcely any difference can
be detected between the original and the copy. Thus the artistic
cunning of Zenodoros only strengthens the proof that the art of
alloying bronze was forgotten.
The figures known as Corinthian are often so much prized that 48
the owners carry them about with them, as the orator Hortensius
^"ifg„f
did the figure of a sphinx which he had taken from his cUent Corinthian
Verres. The image was mentioned in the course of the trial, for sphinx of
when Hortensius declared that he could not guess riddles, Cicero \Hortensius.

replied that he should be able to do so since he kept a sphinx in his

house. Nero when Emperor also took about with him an Amazon /iViroV
Amazon.
to produce in the loam-coating holes 12. Calamidis : xxxiii, 156; xxxvi,
for the pouring in of the bronze, and 36.
the letting out of the air. The co- 13. praeoeptori : in oratory- Ovid
lossalwaxcast of ahorse covered with addressed the Pontic Ep. ii, 5, to

tubings, Clarac, Musie de Sc. i, pi. v, Salanus.

figs. 5, 6, p. loi ff., exactly illustrates § 48. 18. Hortensius : the cele-

what I imagine would be the appear- brated orator and art amateur, re-
ance which the Neronian colossus peatedly mentioned by Pliny, viii,

presented when Tliny saw it. Oddly 211 ; 170; xxxv, 130, &c.
ix,

enough neither Clarac nor Bliimner 21. sphingem according to Pint,

:

(cf. Technol. iv, p. 325) comment, so Apophthegm. Rom. Cic. ii. it was
far as I am aware, on this interesting silver, but according to the same
passage. author, Cic. vii, a, it was of ivory.

8.indicavit interisse cf. : § 5. See Addenda.

§47. II. Dubio Avito. Tac. 22. de qua dioemus :
below,
Ann. xiii, 54. § 82.

D a
 36 C. PLINII SECUNDI NAT. HIST. XXXIV
C. Cestius consularis signum, quod secum etiam in proelio
habuit. Alexandri quoque Magni tabernaculum sustinere
traduntur solitae statuae, ex quibus duae ante Martis Ultoris
aedem dicatae sunt, totidem ante regiam.
49 Minoribus simulacris signisque innumera prope artificum s

multitude nobilitata est, ante omnis tamen Phidias Atheni-

ensis love ex ebore quidem at auro, sed et
Olympio facto
ex acre signa fecit, floruit autem olympiade LXXXIII, cir-
citer CCC urbis nostrae annum, quo eodem tempore aemuli
eius fuere Alcamenes, Critias, Nesiotes, Hegias, et deinde lo

olympiade LXXXVII Hagelades, Gallon, Gorgias Lacon,

rursus LXXXX Polyclitus, Phradmon, Myron, Pythagoras,
50 Scopas, Perellus. ex his Polyclitus discipulos habuit

7. Olympiae omnes praeter Bamb., Detlefsen.

1. C
Cestius. Tac. Hist.y, 10. 8. floruit = iJKiia^e.
consularis signum where Frbh- : olymp. LXXXIII probably :

ner {Rhein. Mus., 1892, p. 292) date of commencement of Parthenon.

proposes consularis (plans') signum. Then about Pheidias as representative
But Pliny is concerned merely with are grouped — failing more precise his-
proving what store was laid by Corin- torical information — other
artists con-
thian bronzes, and not with their nected with the restoration of Athens
subjects. If he specifies Nero's after the Persian wars and its subse-
Amazon, it is only because it had quent embellishment. The group of
become a familiar object. the Tyrant-slayers, madeby Kritios
and
2. tabernaoulum Pliny has here : Nesiotes (archonship of Adeimantos
misunderstood the Greek word aKTjvrj B.C. 477, Marm. I'ar.), replaced the
= tent or canopy. The description older group by Antenor, which had
in the original can only have been of been carried away by Xerxes (5 70).
the golden Nikai, which according to Hegias appears as contemporary of
Diodoros (xviii, 26) supported at K. and N. (cf. Lucian, A'^ei. Praec. 9) ;

each of comers the canopy of the

its Alkamenes worked chiefly for Athens
chariot upon which Alexander's corpse {Schrifiquell. 812-82 2)'. The follow-
was borne to Alexandria; Urlichs, ing groups likewise, when they can be
Chrest. p. 314. determined at all, seem the result of
3. Martis Ultoris: in the forum similar uncritical combinations. As
of Augustus, dedicated B.C. 2. Mon. a rule the given Olympiad strictly
Anc. (iv) xxi, 21-22 ; Mommsen, Res refers only to the first artist in each
Gestae, p. 88. group.
4. regiam : close to the temple circiter : i. e. more accurately, 306.
lof Vesta. 9. aemuli : the epithet is applied
5 49. 5. Minoribus, i.e. colossis quite loosely, and means little more
supradictis. than ' of rival merit ' : so in xxxvi, 30,
7. love Olympio, § 54; xxxvi, the fellow- workers of Skopas on the
18. Mausoleion are called his aemuli; in
 //. BRONZE STATUARY 31

which will be mentioned later on, and a little earlier Gaius '

Sestius, a consular, had a

which he even took into statue
battle. It is said too that the tent of Alexander the Great was 7V»/ of
'^¥^'^"'^''-
always supported by statues, of which two have been dedicated
in front of the temple of Mars the Avenger, and two in front of

the Regia.
The number of artists whose reputation rests on images and 49
statues of smaller size can hardly be counted. Pheidias of ^"'""'".S?'

Athens, however, stands first of all with his Olympian Ztns. principal
''''''"'*•
This was of ivory and gold, but he also worked in bronze. He
flourished in the eighty-third Olympiad [448-445 B.C. J, about
three hundred years after the foundation of Rome. Of the same
date were his Alkamenes, Kritios, Nesiotes, and Hegias.
rivals,

In the eighty-seventh Olympiad [432-429 e.g.] came Hagelaidas,

Kallon and the Laconian Gorgias, and in the ninetieth [420-417
B.C.] Polykleitos, Fhradmon, Myron, Pythagoras, Skopas, \Perellos.

xxxT, 64, Illustrious contemporaries Gorgias : /. G. B. ^6 ==€./. A. iv,

of Zeuxis figure as iiis aequales et 373 (214)-

aemuli; cf. also xxxv, 124. 12. Polyclitua :
§ 55, possibly dated
II. Hagelades : a contemporary by the gold and ivory Hera, which
of tlie Elder Kanachos; flourished circ. he made for the new Heraion at
B. c. 515-485, Robert, Arch. March- Argos, after the fire of E. c. 424.

pp. 39, 93. He is placed in 01. 87, Together with Polykleitos are grouped,
because his Herakles, 'AKf^'maKos (in besides Phradmon (probably a real
Melite, Schol. Aristoph. Barpaxoi, contemporary, Paus. vi, 8, i, below,
504), like the Apollo Alexikakos of § 53), Myron and Pythagoras, for no

Kalamis, Paus. i, 3, 4 (cf. Brunn, other reason, I imagine, than that,

A'. G. i, p. 126), was connected in the all three masters being celebrated for
popular imagination with the staying their statues of athletps, they fitted in

of the great Plague in the third year better with him than with any other
of the Peloponnesian war —the asso- fifth-century artist for whom a date
ciation arising of course from the could be found. As a fact the best

epithet (Brunn, i, p. 68). The real activity of Myron falls within the first

occasion for the dedication of the half of the century (Fiirtwangler,

Herakles remains obscure cf. Robert, ;

Masterpieces, p. 182), while Pytha-
loc. cit. ;
Studniczka, Rom. Mitth. ii, goras, as we know from his statues of

1887, p. 99, note 27 ; Wolters, Ath. athletes whose victories ranged from
Mitth. xvi, 1891, p. 160. The mention B.C. 488-480, was considerably the
of Hagelaidas brings with it that older artist.

of his contemporaries, Gorgias and 13. Scopas : he appears here by

Kallon. See Addenda. a singular anachronism : in xxxvi, 30,

Gallon : it is uncertain whether the he is correctly dated from the Mauso-

Eleian Kallon (Paus. 25,4; 27, v, leion at Halikarnasso.'!. The error is

8 = /. C
B. 33), or his more cele- however insufficient reason for assum-
brated Aiginetan namesake (/. G. B. ing (with Klein and Robert cf. Arch.
27 ; Paus. ii, 32, 6 ; iii, 18, 8). Marchen, p. 46) an elder Skopas.
 38 C. PLINII SECUNDI NAT. HIST. XXXIV
Argium, Asopodorum, Alexim, Aristidem, Phrynonem, Dino-
nem, Athenodorum, Demean Clitorium, Myron Lycium.
LXXXXV olympiade floruere Naucydes, Dinomenes,
Canachus, Patroclus, centesima secunda Polycles, Cephi-
sodotus, Leuchares, Hypatodorus, CIIII Praxiteles, Eu- 5

51 phranor, centesima septima Aetion, Therimachus. CXIII

Lysippus fuit, cum et Alexander Magnus, item Lysistratus
frater eius, Sthenis, Euphron, Sofocles, Sostratus, Ion,
I. Argium Asopodorum Vetle/sen. Phrynonem Dinonem omnes praeter
Bamb., [Dinonem] Detlefsen. 8. Loewy in Inschr. Gr.
Sofocles] coni.
Bildh. 102<^J>. 384; fucles Bami.; icles Jlicc, Voss.; Eucles_^», Detlefsen.

§ 50. I. Asopodorum : a later Dinomenes : below, § 76.

artist than the Asopodoros who worlced 4. Canachus, younger:
i.e. the
on the bathron of Praxiteles of Kama- a Sikyonian and a pupil of Polykleitos
rina at Olympia {I.G.B. 30). See Add. (Paus. vi, 13, 7). His chronology,
Alexim : if identical with the like that of Patrokles, is determined
father of Kantharos of Silsyon in § 85 by the fact that he worked on the
(the pupil of Eutychides; Pans, vi, votive offering of Aigospotamoi (Paus.
3, 6), he must have been a pupil of X, 9; ?)•
Polykleitos II. His insertion here Polycles : § 80.
would be due to an error of Pliny. Cephisodotus father of Praxi-
;

2. AthenodoTum, Demean men- : teles? (Brunn, ^. G. i. p. 269) or elder

tioned together, Paus. x, 9, 7, as em- brother ? (Furtwangler, Masterpieces,
ployed on the Lakedaimonian votive p. 295). His chronology seems de-
offering set up at Delphoi in comme- termined by his Eirene holding the
moration of Aigospotamoi (b. c. 405). infant Ploutos, which should probably
Lycium : as his father appears in be dated shortly after B. o. 375 to '

the same Olympiad with Polykleitos, correspond with the institution of the
he is placed in the 01. of the sons of annual offering to Eirene consequent
Polykleitos; but he was already a on the victories of Timotheus' (Furt-
flourishing artist in B.C. 446, if Lolling wangler, loc. cit.).
(AeXTi'oy, 1889, p. i8i ff.) is right in 5. Leuehares = Leochares. Cf.
referring the statues ofhorsemen (Paus. Leutychides =
Leotychides in Hero-
i, 22, 4), on whose basis his signature dotos. For his works, see below, 79
occurs, to the expedition of Perikles and xxxvi, 30. The extant dates for
to Euboia. his activity are comprised
between
3. Kaucydes : § 80, son of Patro- (a) a period previous to the banish-
kles (/. G. B. 86), and brother of ment of Timotheus in B.C. 355, for
Daidalos of Sikyon, Pans, vi, 34 whom he made a statue of Isokrates
/. G. B. 88-89. On his relation (Heliodoros ap. Ps. Plut. Vita X
to the older Polykleitos, next to Orat. Isocr. 27), and (b) the year in the
whose statue of Hera at Argos had reign of Alexander, when, in conjunc-
stood a Hebe by Naukydes, Paus. tion with Lysippos, he made Alex-
ii.*i7, 4 (the two
on coins of
statues ander's Lion Hunt (below on § 64).
Argos.P. Gardner, iV«»«. Comm.l,xv), Hypatodorus he is possibly
:

see Furtwangler, Masterpieces, p. 226, identical with the H. who, in con-

and cf. Robert, Arch. March, p. 104 ff. junction with another artist Sostratos,
 //. BRONZE STATUARY 39

The following were pupils of Polykleitos, Argeios, Asopodoros, 50

Alexis, Aristeides, \Phrynon, \Deinon, Atkenodoros, and Demeas of
Kleitor. Myron was the master of Lykios. In the ninety-fifth
Olympiad [400-397 b.c.J Naukydes flourished, with Deinomenes,
Kanachos, and Patroklos ; in the hundred and second [372-369
B.c.J, Polykles,
Kephisodotos, Leuchares, Hypatodoros ; in the hun-
dred and fourth [364-36 1 b. c], Praxiteles and Euphranor ; in
the hundred and seventh [352-349 b.c.J, Action and \Therimachos.
Lysippos lived in the hundred and thirteenth [328-325 B.c.J, in 51
the days of Alexander the Great ; so also did his brother Lysi-
stratos, as well as Sthennis, \Euphron, Sophokles, Sostratos, Hon,

made for the Arkadian Aliphera (pre- of Mantineia (equeslre proelium, xxxv,
vious to B.C. 372, see Brunn, K. G. ii, 129).
p. 295) a bronze Athena, Pans, viii, 26, 6. Aetion, Ther. : Action being
5; Polyb. iv, 78. He must however be only knovm as a painter (xxxv, 78),
a distinct personality from the Hypato- and Therimachos being unknown ex-
doros who, with his colleague Aristo- cept for this passage and xxxv, 78,
geiton,made for a certain Orcho- it is reasonable to suppose with
menian the monument of which the Furtwangler {loc. cit.) that the whole
inscribed basis is still extant (/. G. B. passage, centesima . . . Therimachus,
loi). The archaic style of the epi- has been interpolated from xxxv, 78.
graphy (Kirchhoff, Studien, 4th ed., § 51. 7- Lysippus : his d«;ji7 is

p. 142, note l^ compels us to follow determined by the central Olympiad

Robert {Hermes, xxv, 1890, p. 4i2ff., of the reign of Alexander. (Loewy,
and Uall. Winckelmannspr. xviii, Uniersuch. p. 64.)
1895, P- 4^0 ™
referring the artists to Lysistratus, xxxv, 153.
the early part of the fifth century. To 8. Sthenis of Olynthos, inf. § 90.

this date accordingly we must also refer From /. G. B. 83 we learn that he

their group set up
Delphoi by the
at was a fellow-worker of Leochares; and
Argives, whatever view we may take from /. G. B. 103' (cf. on /. G. B. 541,
of the date of the Attico-Argive p. 370) that he was still active in the
victory at Oinoe which the group reign of Lysimachos (B. c. 306-281).
commemorated, or was supposed to Sofocles : Loewy's reading is

commemorate Paus. i, 10, 3 (see espe- made practically certain by BuUe's

cially Robert, //. cc, and Furtwiingler, observation {Olympia, Bd. ii, p. 156)
Masterpieces, p. 41). that the bases from the statues of
Praxiteles : dated with reference riders by Sophokles at Olympia
to his activity in Mantineia (Paus. (/. G. B. 123-125) closely resemble,
viii, the third year of 01. 104
9, i), in form and profile, the basis (/. G. B.
(b. C.462) being the date of the great 103") of Sthennis from the Amphia-
battle (Furtwangler, Plinius, p. 21). reion at Oropos. This near connexion
Kuphranor : although he ap- of the two artists explains the place
pears here as a sculptor (§ 77), the assigned to them in the Plinian chrono-
cine to his date is afforded by his logy.
painting, in the Stoa of Zeus Eleutherios Sostratus : probably identical with
atAthens (Paus. i. i, 4), of the cavalry the Sostratos, son of Euphranor,
engagement that preceded the battle /. C. B. los.
 4° C. PLINII SECUNDI NAT. HIST. XXXIV

Silanion — in hoc mirabile quod nullo doctore nobilis fuit,

ipse discipulum habuit Zeuxiaden CXXI Eutychides, —
Euthycrates, Laippus, Cephisodotus.Timarchus, Pyromachus.
52 cessavit deinde ars, ac rursus olympiade CLVI revixit, cum
fuere longe quidem infra praedictos, probati tamen, Antaeus, 5

Callistratus, Polycles Athenaeus, Callixenus, Pythocles,

53 Pythias, Timocles. ita distinctis celeberrimorum aetatibus
insignes raptim transcurram rehqua multitudine passim
dispersa. venere autem et in certamen laudatissimi, quam-
quam diversis aetatibus geniti, quoniam fecerant Amazonas, lo

quae cum in templo Dianae Ephesiae dicarentur, placuit

eligi probatissimam ipsorum artificum qui praesentes erant

iudicio, cum apparuit earn esse quam omnes secundam a sua

quisque iudicassent. haec est Polycliti, proxima ab ea Phidiae,
54 tertia Cresilae, quarta Cydonis, quinta Phradmonis. Phidias i5

1. Silanion : from Pans, vi, 4, 5 survived in the exquisite statue in the

we learn that he made a statue of Vatican, Helbig, Class. Ant. 376.
Satyros of Elis, who appears as winner 3. Euthycrates § dd. Laippus
:

of a double victory in a catalogue of {ibid.) = the Daippos of Pans, vi, 12,

the Amphiaraia (C /. G. S. 414). 6 ; 16, 5. The name is coiTectly
According to a conjecture of J. Dela- given below, § 87. Either Pliny in
marre (Reo. de Phil, xviii, p. 162 sqq^, transcribing from the Greek mistook
this catalogue belongs to the same A for A, or he is quoting from a Lathi
period as C.I. G.S. 4253 (under arch- author who had already been guilty
onship of Niketas B. c. 332-1), and of the blunder.
C. I. G. S. 4254 (archonship of Kephi- Cephisodotus, Timarchus sons :

sophon B.C. 329-8). It would thus of Praxiteles, Vil. Oral. Lykurg. X

appear that the date assigned by Pliny 38. The fact that they made a statue
to Seilanion is correct. For his works, of Menander (Pans, i, 21, i, /. G. B.
cf below, 581. See Addenda. ioS = C. A. ii. 1370), who died
/.
nullo doctore, i. c. his school dia- B.C. 291, shows that they were
dochy had been lost cf. the similar ; older than the sons of Lysippos.
case of Lysippos. Introd. p. xlvii £f. After the great masters, their pupils
Zeuxiaden: known from one
2. are lumped together without any strict
(/. G. B. 483-
of the Mattel inscriptions chronological order (cf. Furtwangler,
485) as sculptor of a statue of Hype- Masterpieces, p. 309).
reides (d. B. c. 322). See Addenda. Pyromachus there appear to
:

Eutychides below, § 78 xxxv,

: ; have been several artists of that name,
141. The date assigned to him by see below on § 80, § 84 xxxv, 146. ;

Pliny approximately with

coincides § 52. 4. cessavit deinde ars
the restoration of Anliocheia by Se- marks the end, not of a period of art,
leukos, 01. 1 19, 3 = B. c. 302. For the but of Pliny's main Greek authority
new E. made an allegorical figure
city (cf. the similar break in the account

of Tyche supported on the river-god of the Painters, xxxv, 135), Brunn,

—
Orontes a work of which a copy has K. G. i, p. 504 f. Between B. c. 296
 //. BRONZE STATUARY 4i

and Seilanion. It is remarkable that Seilanion owed nothing to

the instruction of any master ; his own pupil was Zeuxiades. In
the hundred and twenty-first Olympiad [b. c. 296-293] came
Eulychides, Euihykrates, Laippos, Kephisodotos, Timarchos, and
Pyromachos. A period of stagnation followed, and again a revival 52
in the hundred and fifty-sixth Olympiad [b.c. 156-153], the age of
fAn/aios, Kallistratos, Polykles of Athens, iKallixenos, \Pythokles,
^Pythias and Timokles, artists of merit, but still far below those
already mentioned.
Having given the dates of the most celebrated artists, I shall ^, .
, , J The five ,
touch briefly on the great names, and group the others under most
various heads. The most famous artists, although born at some/''"'''"*
distance of time from each other, still came into competition, since Amazons
each had made a statue of an Amazon, to be dedicated in the/'"'.?.'^'""'
petition.
temple of Artemis at Ephesos, when it was decided that the prize
should be awarded to the one which the artists themselves, who
were on the spot, declared to be the best. This proved to be the
statue which each artist placed second to his own, namely that of
Polykleitos ; the statue of Pheidias was second, that of Kresilas
third, Kydon's fourth, and Phradmon's fifth.

Besides his Olympian Zeus, a work which has no rival, Pheidias 54

and the 'revival' in B.C. 156 came types, distinct in conception, but vrith
the great school of Pergamon, which externalresemblancesoftype and dress
Pliny omits in his chronological table, have been identified (Fnrtwangler,
but which he mentions below, § 84. Masterpieces, p. 128 ff.), the story of
The revixit in B. c. 156 appears con- the competition contains a kernel of
nected with the family of Polykles, truth. Two of the extant statuary
father of Timokles and Timarchides types can be traced back to Kresilas
(below, I 92 xxxvi, 35), and grand-
; and Polykleitos respectively,
father of Polykles II and of Dionysios, 11. placuit . . . iudicassent : we
who made the statues for the temples have here in another garb the iden-
of Juno and Jupiter erected by Q. tical anecdote told by Herodotos, viii,

Metellus Macedonicns, B.C. 149, cf. 123, Plut. 7%fwzzV^. xvii, of the allot-
Gyn\\\X,Pausanias,^. 361 ff. ; Loewy, ting of the prize of valour after Salamis.
I. C.B.^. IIJ. 15. Cresilae . . . Cydonis. In
6. Callistratus : perhaps iden- three out of the four extant inscriptions
tical with the artist mentioned, Tatian of his name, Kresilas calls himself
p. 36, 14, ed. Schwartz (Brunn, K. G. KvSavtiTtjs (7. G. B. it^-'tJ I
for the in-
i>
P- 635)- scription recently foimd at Delphoi cf.
§ 53. 9. quamciuam . . . geniti : Furtwangler, Masterpieces, p. 116) ; it
by which Pliny attempts to reconcile is evident that Pliny's Latin author
his chronology (where Polykleitos is in transcribing from the Greek forged
placed twenty-eight years after Phei- out of a form TLiZav, the name of a
dias) with the story of the competition. fifth artist (cf. O. Jahn, Sacks. Bet,
10, Amazouas : since foarAmazon 1850, p. 37).
 43 C. PLINII SECUNDI NAT. HIST. XXXIV
praeter lovem Olympium quern nemo aemulatur fecit ex
ebore aeque Minervam Athenis, quae est in Parthenone stans,
ex acre vero praeter Amazonem supra dictam Minervam
tarn eximiae pulchritudinis ut formae cognomen acceperit.
fecit et cliduchum et aliam Minervam quam Romae Paulus s

Aemilius ad aedem Fortunae Huiusce Diei dicavit, item duo

signa quae Catulus in eadem aede palliata et alterum
colossicon nudum, primusque artem toreuticen aperuisse
55 atque demonstrasse merito iudicatur. Polyclitus Sicy-
onius Hageladae discipulus diadumenum fecit molliter lo

iuvenem centum talentis nobilitatum, idem et doryphorum

viriliter puerum. fecit et quem canona artifices vocant linia-

menta artis ex eo petentes veluti a lege quadam, solusque

hominum artem ipsam fecisse artis opere iudicatur. fecit

554. I. lovem Olympium: remains uncertain. Gr.Cf. Urlichs,

xxxvi, 18, where the gold-ivory Statuen in Kep. Mom, p. 9 f.
Minerva is also described. palliata i. e. portraits (cf. the pal-
:

3. Minervam . . . pulchr. : i.e. liati, XXXV, 136), while the colossus

the bronze Athena surnamed the nudus presumably represented a hero

'
Lemnia,' Pans, i, 38, 2 ; Lucian, or local god; cf. H. L. Urlichs in
fiic6vei 4 ; for extant copies of the Woch.f. Ktass. Phitol. 1894, 488.
statue, Furtwangler, Masterpieces, pp. alterum the duo palliata are
:

4 ff. ; see Add. to be considered as one group, in

5. oliduohum : votive portrait apposition to alterum, by an extension
statue of a priestess, same subject by of the construction of xix, 34 ; xxi,
Euphranor, below § 78. See Add. 128 XX, 9 ; XXXV, 71. H. L. Urlichs
;

P. Aemilius probably on the : loc. cit. See Addenda to p. 38, 5.

occasion of his triumph after Pydna 8. primusque aperuisse : this
(b. c. For the magnificent
168). criticism forms, together with the
statues and works of art which he similar criticisms attached to Myron,
brought from Makedonia see Liv. Polykleitos, Pythagoras and Lysippos,
xlv, 33 they filled 250 chariots
; a consecutive canon or series ofaxioms
which graced his triumph. Plut. Aem. intended to link with definite great
Fault. 32 ; cf. Veil. Pater, i, 9. names the successive steps in the
6. Portunae Huiusce Diei on : development of bronze-casting. After
the Palatine where was » Vicus Pheidias, the reputed discoverer of the
huiusce diei (Gilbert, iii, p. 422); possibilites of the art, each artist is
was another temple of Forluna
there appraised in his relation to symmetry,
H. D. in campo (see R. Peter ap. the highest award falling to Lysippos,
Roscher, i, 1514. C. I. L. i, p. 298 f.). Otto Jahn, Kunsturtheile des Ft. p.
7. Catulus : i. c. the Elder, who 128 if.; C. Robert, Arch. March.
on- the day of the battle against the p. 28 ff. For the author of the verdicts
Cimbri ev^aro dvaffxojv tols x«joas
. . ,
cf below ou § 56. Introd. p. xvi ff.

KaOteptjjffciv rffv rvxqv ^fiepas exeivTjs. toreuticen; a term applied

by
Plut. Marius, 26: Plin. xvii, 2. Whence Pliny to the whole of statuary as
Catulus obtained these Pheidian works opposed to pictura (cf. xxxv, 77),
 //. BRONZE STATUARY 43

made in ivory the Athena at Athens, which stands erect in the Artists of
Parthenon. In bronze, besides the Amazon already mentioned,
-^7«S*
he made an Athena of such passing beauty that she was sur-
named the Fair. He also made a Key-Bearer, or KXfihovxps,
another Athena which Aemilius Paullus dedicated at Rome in
front of the temple of the Fortune of the Day, two draped
statues dedicated by Catulus in the same temple, and a nude
colossal statue. He is rightly held to have first revealed the
capabilities of sculptureand indicated its methods.
Polykleitos of Sikyon was a pupil of Hagelaidas. He made 55
an athlete binding the diadem about his head, which was famous
^fsik"on
for the sum of one hundred talents [£21,000 circ] which it
realized. This hia&oijievos has been described as 'a man, yet
a boy': the Sopv(j>6pos or spear-bearer as 'a boy, yet a man.'
He also made the statue which sculptors call the 'canon,'
referring to it as to a standard from which they can learn the
first rules of their art. He is the only man who is held to have
embodied the principles of his art in a single work. He also made

while Statuaria ars is, according to The Doryphoros represented an

Latin usage, reserved for bronze statu- athlete carrying his palaistric javelin.
ary; cf. § 35 ; § 65; XXXV, 156; xxxvi, Themost complete copy of theDiadou-
15, 37- menos is the Vaison statue {Br. Mus.
§ 55. 9. Sioyonius by Plato : Cat. i, of the Doryphoros the
500) ;

(JProtag. p. 311 C) Pol. is called statue in Naples (CoUignon, Sculpture

'A/)7cfor; cf. also I.G.B. 91; Furt- Grecque, i, pi. xii). See Addenda.
wangler. Masterpieces, p. 355 ff. It 11. oentum taleutis; cf. vii, 126,
is natural that a confusion as to where the same price is paid by
the exact place of his birth should Attalos for a picture by Aristeides of
have arisen, as his family appear to Thebes. Introd. p. Ixxxiv.
have migrated from Argos to Sikyon 12. et quemcanona: the 'canon'
(/. G. B. 89). was, however, identical with the
10. Hag. discipulus this is chro- : Doryphoros (see the passages Schrift-
nologically impossible — the activity quell. 953 ff.). It erroneously appears
of Hagelaidas reaching back as far as here as a separate statue, the comment
01. 65 = B.C. 530, that of Polykleitos on the Doryphoros qua canon being,
as low down as 01. 90 = B. c. 420 as Furtwangler, Masterpieces, p. 229,
(above, § 49), Robert, Arc/i. Mdrchen, note 4, detected, taken from a different
p.92 ff. By a loose juxtaposition the source to what precedes ; cf. Miinzer,
greatest Argive master in the fifth Hermes, xxx, 1895, p. 530, note i.
century is made into the pupil of the 14. artem Ipsam fecisse ap- :

greatest Argive master in the sixth. parently an allusion to the treatise

diadumenum . . . puerum on art by Polykleitos, called the
the neat antithesis points to an epi- Canon. What Pliny states in
gram as the source of this statement; epigrammatic form is told more
Dilthey, Rhein. Mas. xxvi, p. 290. plainly by Galenos isifX rSiv 'limoKf,
 44 C. PLINII SECUNDI NAT. HIST. XXXIV
et destringentem se et nudum telo incessentem duosque
pueros item nudos talis ludentes qui vocantur astragali-
zontes et sunt in Titi imperatoris atrio — hoc opere nullum
56 absolutius plerique indicant —item Mercurium qui fuit Lysi-
macheae, Herculem qui Romae, hagetera arma sumentem, 5

Artemona qui periphoretos appellatus est. hie consummasse

hanc scientiam iudicatur et toreuticen sic erudisse ut Phidias
aperuisse. proprium eius est uno crura ut insisterent signa
excogitasse, quadrata tamen esse ea ait Varro et paene ad
57 unum exemplum. Myronem Eleutheris natum Hageladae et lo

ipsum discipulum bucula maxime nobilitavit celebratis ver-

sibus laudata, quando alieno plerique ingenio magis quam
suo commendantur. fecit et canem et discobolon et Perseum
I . telo] Benndoif in Gesammelte Stud, zur Kunstgesch. Festschr. fiir A,
Springer, 1885,^0^. 260; taXo codd. Deile/sen. 3. z;«</a Addenda.
Kai nXttT. Soy fjt. 5 : (pyq) rbv \6yov Lysimachos in the Thracian Cher-
6/f/3ejSafa;fff, SrjiMovpyqaas avSpt&VTa sonnese. Where the statue had pre-
KarcL rd tou X6yov irpoffrdyfjiaTa Kot viously stood is not knovifn.
KoXeaas 5^ Kai avrov rhv avbptdvTa 5. hagetera : the Doric form
KaBa-mp teal rb aiyy pap, jjui, icav6va ; points to a metrical epigram which
cf. XXXV, 74 (Timanthes) pinxit et was doubtless inscribed on the basis
heroa .
. . artem ipsani complexus of the statue ; cf. H. L. Urlichs in
viros pingendi. Introd. p. xli. Woch.f. Klass. Phil. 1894, p. 1299 ff.

1 destringentem se : i. e. an 6. Artemona : according to

Ephoros {ap. Plut Per. 27), A. was an
telo incessentem : Furtwangler engineer who directed the blockading
{^Masterpieces, p. 249) compares Ovid, works during the siege of Samos by
Metam. 14, 402 saevisque parant Perikles. Ovring to his lameness, he
incessere telis. See also Woelfflin, was carried about in a litter, whence
in ArchivfUr Lat. Lexicogr. ix, 1894, he received the surname Periphoretos.
p. 119 ff. Addenda. Plutarch adds, however, that the story
2. astragalizontes : [possibly for was confuted by Herakleides of Pontes,
a votive or grave monument, Woch. who showed from Anakreon (cf.
f. Klass. Phil. 1895, 548. For a Bergk, Poetae Lyr. iii, p. 261, Fr.
kindred subject on a Roman sarko- 21-46, where see note), that Art.
phagos, see Helbig, Class. Ant. 97. Periphoretos lived long before the
— H. L. U.] See Add. to p. 42, 5. Samian war. It is evident that there
3. et sunt . . . atrio : this addition was contaminatio between the two
concerning the Roman locality of the namesakes, the engineer becoming
astragalizontes is loosely co-ordinated credited with the surname of the
to the main account ; cf. Oehmichen, notorious voluptuary, while the story
Blin.Studien,^. 119. Introd. p. xxxvii. of the lameness was invented to ac-
§ 56. 4. fuit : before the destruc- count for it. Addenda.
tion of Lysimachea by the Thracians in 7. hano scientiam harks back :

01. i45,4=B.c. i97(Liv.xxxiii,38,ii). to § 54 Phidias primus artem

. . .

Lysimacheae: built B.C. 309 by toreuticem aperuisse.

 //. BRONZE STATUARY 45

an athlete scraping himself, a nude figure advancing with a weapon,

and two boys, also nude, playing with knucklebones, who are known
as the do-T/iayaXt'foiTf £ [dlcc-players], and are now in the Hall of the

Emperor Titus. Many people think that the faultless execution

of this work has never been surpassed. Other works of his are 56
a Hermes, which was at Lysimacheia ; a Herakles at Rome
a captain or iyirrip putting on his armour j and finally a portrait
of Artemon, known by the name of jrepi(j>6i>T]Tos or '
Man in the
litter.' He is considered to have brought the scientific knowledge
of statuary to perfection, and to have systematized the art of
which Pheidias had revealed the possibilities. It was his peculiar
characteristic to represent his figures resting their weight on one
leg ; Varro however says that they are square and almost exactly
after the same type.
Myron was born at Eleutherai, and was also a pupil of 57
Hagelaidas. He is best known by his heifer, thanks to the well- £^^t"frai.
known verses written upon it, for people very generally owe
their reputation to the talent of others, rather than their own.
He also made a dog, and a fiio-xo^oXof, or athlete hurling the
disk, a Perseus, sawyers, a Satyr gazing with wonder at the

8. uno crure ut insisterent: ladae: the pupilship can neither be

implies a shifting of the weight from proved nor disproved possibly, how- ;

one leg to the other in the act of ever, the tradition only arose from a
walking, and therefore accurately general likeness between the early
describes the favourite Polykleitan works of Myron and those of Hage-
attitude of '
arrested motion.' Had laidas. Furtwangler, Masterpieces,
the figure been represented at rest p. 196. Introd. p. li, note 6.

with whole weight on one leg, the

its Sleutheris on the
: frontier
expression used must have been uni between Boeotia and Attica (cf.
cruri insist., MichaeUs, Ann. d. Inst. I. G. B. 417).

1878, p. 29 (cf. J. Lange, Frem- 11. bucula: the heifer (doubtless

stilling, p. 466). a votive offering) had originally stood
9. quadrata ... ait Varro : the in Athens, Cic. Verr. II, iv, 60, § 135.
mention of Varro shows that the Later it was transferred to Rome,
criticism of Polykleitos and conse- where Prokopios (5«//. Goth, iv, 21)
quently the kindred criticisms of the saw it in the Forum Pads. No less —
remaining four artists were derived than thirty-eight of the epigrams
from him, though Varro himself was of alluded to are extant (collected in
course drawing directly or indirectly Overbeck, Schriftquell. 550-588).
from a Greek author, whom we now 1 3. canem : votive-offering, cf.

know to have been Xenokrates of Antk.Pal.m, 175; 176. The list of

Sikyon (§ 83), Introd. p. xvi ff. works down to Delph. pentathlon is
quadrata = rerpw^oiva, cf. Plato, alphabetic (Petersen, A. Z. xxxviii,
Protag. 344 a. 1S80, p. 25).
§ 57. 10. Myronem . . . Hage- disoobolon : the best copy is
 46 C. PLINII SECUNDI NAT. HIST. XXXIV
et pristas et Satyrum admirantem tibias et Minervam,
Delphicos pentathlos, pancratiastas, Herculem qui est apud
circum maximum in aede Pompei Magni. fecisse et cicadae
monumentum ac locustae carminibus suis Erinna significat.
58 fecit etApollinem quern ab triumviro Antonio sublatum 5

restituitEphesiis divus Augustus admonitus in quiete.

primus hie multiplicasse veritatem videtur, numerosior in
arte quam Polyclitus et in symmetria diligentior, et ipse
tamen corporum tenus curiosus animi sensus non expressisse,
capillum quoque et pubem non emendatius fecisse quam 10

59 rudis antiquitas instituisset. vicit eum Pythagoras Re-

ginus ex Italia pancratiaste Delphis posito ; eodem vicit

et Leontiscum ; fecit et stadiodromon Astylon qui Olympiae

ostenditur et Libyn, puerum tenentem tabellam eodem loco
et mala ferentem nudum, Syracusis autem claudicantem, 15

14. loco, et Detlefsen.

in Palazzo Lancellotti (Collignon, Vitr. 3, 2, 5 : aedes Herculis

Sculpture Grecque, i, pi. xi). Pompeiani.
Peraeum : presumably identical 4. Srinna: Hardouin (1685) had
with the Perseus by Myron on the already detected that this ridiculous
Akropolis (Pans, i, 23, 'j). statement arose from a confusion be-
I. pristas Dalecampius was the
: tween Mvpiiv and the maiden Mvpii, for
first to give the true meaning of the whom the poetess Erinna must have
word ; Furtwangler, Dornauszieher, written an elegy similar to the ex-
p. 89, note 30, correctly explained tant one by Anyte {Ani/t. vii, 190).
the curious subject as a votive offering; 'AitpiSi ra KaT* apovpav aijdovi adt

cf. H. L. Urlichs in Woch. f. Klass. SpvoKoira

Phil. 1893, p. 220 f. See Addenda. TGTTiyi ^whv TvfiPov erev^a Mvpccr,
Satyrum . . . et Minervam = § 58. 5. sublatum restituit : cf.
Pans, i, 24, I ; Collignon, Sculpture Man. Anc. (xxiv) iv, 49-5 1 : /«
Grecque, i, p. 465 f. Petersen, loc. templis omnium civitatium provinciae
cit., showed that the two must be Asiae victor ornanienta reposui. quae
considered as one group owing to the spoliatis templis is cum quo helium
alphabetical enumeration noted above. gesseram privatimpossederat. Momm-
3. in aede Pompei Magni sen. Res Gestae, p. 95 f. MUnzer,
this new temple of H. was presum- op. cit. p. 545, suspects the Ephesian
ably near to the ara maxima in the story of being a doublette of Augustus'
foro boario, the chief centre of the restoration of Myronian works to
hero's worship (Gilbert iii, p. 434 ; Samos, recounted Strabo xiv, i, 14.
cf. H. Peter ap. Roscher i, 2918 cf. ; 7.. multiplicasse veritatem ex- :

above on § 33 xxxv, 19). Pompeius ; plained byBrunn {K. C

i, p. 151) to

had probably dedicated it on the mean that Myron ' widened the range
occasion of his last triumph in B.C. 6t, of representation in art, inasmuch as
and brought the Herakles from Asia he laid hold on moments disclosed by
Minor (cf. Urlichs, Chrest. p. 139). attentive observation of nature, but not
 //. BRONZE STATUARY 47

pipes and Athena, winners in the five contests at Delphoi,

pankratiasts, and the Herakles which is near the great Circus
in the temple of the great Pompeius. A poem by Erinna also tells

us that he made the monument

he also 58 of a cicada and a locust ;

made the Apollo which was taken from the Ephesians by the'
triumvir Antonius, and restored to them by the god Augustus, in
obedience to a dream. He was apparently the first to multiply
truth he was more productive than Polykleitos, and a more
;

diligent observer of symmetry. Still he too only cared for the

physical form, and did not express the sensations of the mind,
and his treatment of the hair of the head and of the pubes con-
tinued to betray an archaic want of skill.

Pythagoras of Rhegion in Italy surpassed Myron with the 59

pankratiast placed at Delphoi ; with the same statue he also sur- Pp^'^'^,"^
passed Leontiskos. He further made the statues of the runner
Astylos and of a Libyan, which are to be seen at Olympia ; for the

same place he made the boy holding a tablet, and a nude male
figure bearing apples. At Syracuse is a statue by him of a man

utilized before.' A striking example Astylon. In the following sentence,

of course is the Diskobolos, represented likewise, eodem loco belongs to both
in the act of hurling the disk. puerum and mala ferentem nudum ;
nmnerosior : cf. xxxv, 1 30, dili- cf. the analogous construction in xxxiii,
gentior quam numerosior ; ibid. § 138 5 murrina ex eodem tellure et cry-
numerosaque tabula [numerosus in stalina effodimus. (H. L. Urlichs in
Pliny always of number; cf. vii, 101, Gorlitz. Verhandl. p. 330.)

143; A, 176 numerosiora in fetu; 14. Libyn, i. e. Mnaseas of Kyrene.

XV, 8, and often.— H. L. U.]. Pans, vi, 13,7 ; 18, i.
9. animi sensus the translation : puerum . . . tabellam: pro-
given above is from Pater, Greek bably an iconic mvaxiov, Reisch,
Sttidies, p. 301. Weihgeschenhe, p. 44. The statue
§ 59. 12. eodem . . . Xisontiscum may be identical with that of the boy
Leontiskos was a winner both in the victor Protolaos, Pans, vi, 6, i ; cf.

Pythian and Olympic games, whose H. L. Urlichs, loc. cit. See Addenda.
portrait was made by Pythagoras 15. mala ferentem cf. the statue :

(Pans, vi, 4, 3). He figures here of Theognetos, who carried mrvos t^s
as an artist, doubtless through mis- 7' ^/j-epov xal /5mSj KapirSv, Pans, vi,
understanding of some Greek sen- 9, I. Pythagoras's statue of Euthy-
tence such as iviKa koX tovtov iroiwv «ai mos (7. G. B. 29, Pans, vi, 6, 4-6) is
AeovTia/tov, i. e. '
he conquered, both mentioned in Bk. vii, 152.
when he made the pankratiast and elaudicantem : the identifica-
when he made the Leontiskos' tion of this statue with a wounded
(Urlichs, JiAein. Mus. 1S89, p. 261). Philoktetes is due to Gronovius (Bliim-
13. Astylon: Pans, vi, 13, x. ner, Comm. to Lessing's Laokoon,
qui Olympiae ostenditur p. 508 f). The following words
belongs to Libyn as well as to cuius . . , videntur are evidently epi-
 48 C. PLINII SECUNDl NAT. HIST. XXXIV
cuius ulceris dolorem sentire etiam spectantes videntur, item
ApoUinem serpentemque eius sagittis configi, citharoedum,
qui Dicaeus appellatus cum Thebae ab Alexandre est, quod,
caperentur, aurum a fugiente conditum sinu eius celatum
asset, hie primus nervos et venas expressit capillumque 5
60 diligentius. fuit et alius Pythagoras Samius, initio pictor,
cuius signa ad aedem Fortunae Huiusce Diei septem
nuda et senis unum laudata sunt, hie supra dicto facie
quoque indiscreta similis fuisse traditur, Regini autem
61 discipulus et filius sororis fuisse Sostratus. Lysippum 10

Sicyonium Duris negat uUius fuisse discipulum, sed primo

aerarium fabrum audendi rationem cepisse pictoris Eupompi
response, eum enim interrogatum, quem sequeretur ante-
cedentium, dixisse monstrata hominum multitudine naturam
62 ipsam imitandam esse, non artificem. plurima ex omnibus 15
signa fecit, ut diximus, fecundissimae artis, inter quae destrin-
gentem se quem M. Agrippa ante Thermas suas dicavit
mire gratum Tiberio principi. non quivit temperare sibi in
eo, quamquam imperiosus sui inter initia principatus, trans-

grammatic ; Anth. Plan, iv, II3, of § 60. 6. fuit et alius : in Paus.

a broDze Philoktetes, seems to refer vi, 4, 3, Pythagoras is called p?;7ri'os,
to the work of Pythagoras, the un- and immediately after (vi, 6, 4) he is

usual omission of the name of the named as the artist of the statue of
hero portrayed accounting for its Euthymos. Now on the basis of the
omission by Pliny (cf. Brunn, K. G. i, Euthymos (/. G. B. 23). Pythagoras
p. 134). signs himself "SAixios; it is clear
2. configi : for the construction therefore Samius and the
that the
cf. XXXV, 144 (pinxif) ab Oreste ma- Rheginus were one and the same per-
trem et Aegisthum interfici. son. He was probably among the
citharoedum a Theban poet ; Samians who migrated to Italy in Ol.
named Kleon. The inscription on his 71 (Herod, vi, 23) and became subjects
statue is quoted by Athenaios, i, of Anaxilas of Rhegion (Loewy on
p. 19 b, who adds the story of the /. G. B. 23). He evidently signed
gold on the authority of Polemon ; cf. sometimes with the one sometimes
Preger, Inscripiiones, 140. with the other ethnic, a fact which
5. hio primus nervos: his rela- misled some art historian into dividing
tion to symmetry is not given by him two persons. A critic cor-
into
Pliny. It is preserved however, and stated his belief
rected this blunder
by Diogenes Laertios viii, 46 : 01 h\ (hat the two were identical, a remark
KoJ . . . dvSpiavTOTTOtbv 'Fr;yTvov ye- which would afford the clue to Pliny's
yovivai <paai livB. irpHiTOV Soicovvra ridiculous statement about the like-
fivB/iov xal (Tv/JiaeTpias iaroxaaSai. ness. It is noteworthy that Diogenes
Koi aWov avSpiavTotroibv 'Saiuov (loc. cit.) is likewise guilty of dividing
(Furtwangler, Plinius, p. 70). the sculptor into two.
 I
//. BRONZE STATUARY 49

limping, the pain of whose ulcer even the spectators seem to feel.

He also made an Apollo piercing a serpent with his arrows, and

a man with a cithara, which bears the name of SUaws [the Just],
because when Thebes was taken by Alexander, a fugitive concealed b.c. 335.

some money in its bosom, where it remained safely hidden. He

was the first to make the sinews and veins duly prominent, and
to bestow greater pains on the hair. A second Pythagoras, 60
a Samian, was a painter in early Near the temple of the life.

Fortune of the Day are seven nude figures by him, and an

old man, which are praised. According to tradition his personal
resemblance to the other Pythagoras was so strong that the two
could be mistaken ; it was the Rhegine Pythagoras, however, of
whom Sostratos was the pupil and nepjiew. ^„ ^
Duris declares that Lysippos of Sikyon was no man's pupil ;'.§i;'
that he was originally a coppersmith, and was encouraged to ven- gf stkyon.
ture on a higher path by the words of Eupompos. That painter
when asked which of the earlier artists he followed, pointed to
a crowd of people, and replied that nature should be imitated
and not any artist. Lysippos produced more works than any 62
other artist, possessing, as I have said, a most prolific genius.
Among them is the ii^n sMapingJiimself, which Marcus Agrippa
dedicated in front of his baths. In this statue the Emperor
Tiberius took a marvellous delight, and though capable of self- ','

6. initio piotor: so of Pheidias Sostratus see Munzer, Hermes, 1895,

XXXV, 54. p. .i;33.

7. ad aedem Fortunae H. D. § 61. 11. negatulliusfuissediaoi-

aboTe § 64 ; it seems to have con- pulum : In other words the name of
tained a real Museum; the septem his master was lost, ct Seiknion

signa need not have formed a group, above § 6') Protogenes in xxxv, loi.
but were seven athlete statues, col- 12. pietoiis Eupompi : xxxv, 75,
lected together into one place for the among the aequales aemuli of
et

firsttime at Rome. To these was Zeuxis. On chronological grounds

added the portrait of an old man by there is Eupompos
nothing to prevent
the same artist (cf. H. L. Urlichs in as an oldman from having known the
Woch. f. Klass. Phil. 1894, p. 488, young Lysippos. The anecdote, how-
and Sauer, Anfdnge d. Stat. Grupfe, ever, was probably concocted in order

p. 20, note 73). to bring into connexion the greatest

8. facie quoque indisoreta : cf. painter and the greatest sculptor of
the similar expressions above § 38 ; Sikyon ; cf. Introd. p. xlvii f.

vii, 53; xxxv, 88 similitudinis in- 14. naturam . . . non artiflcem : a

discretae, Sfc. hit at the schools which worked accord-
10. Sostratus: his identity with ing to a fixed cokcw. Introd. p. xlviii.
Sostratos, sixth in artistic descent §62. 16. utdiximus : above, § 37.

from Aristokles of Sikyon (Pans, vi, ttermas: at the back of the

17.

9, 3), is quite doaibtful. On this Pantheon. See Addenda.

E
 5° C. PLINII SECUNDI NAT. HIST. XXXIV
cum quidem tanta
tulitque in cubiculum alio signo substitute,
populiRomani contumacia fuit ut theatri clamoribus reponi
apoxyomenon flagitaverit princepsque quamquam adamr.tum
63 reposuerit. nobilitatur Lysippus et temulenta tibicina et
canibus ac venatione, in primis vero quadriga cum Sole 5

Rhodiorum. fecit et Alexandrum Magnum multis operibus

a pueritia eius orsus. quam statuam inaurari iussit Nero
princeps delectatus admodum ilia, dein, cum pretio perisset
gratia artis, detractum est aurum, pretiosiorque talis existima-
batur etiam cicatricibus operis atque concisuris in quibus 10
64 aurum haeserat remanentibus. idem fecit Hephaestionem
Alexandri Magni amicum, quern quidam Polyclito ad-
scribunt, cum is centum prope annis ante fuerit, item
Alexandri venationem quae Delphis sacrata est, Athenis
Satyrum, turmam Alexandri in qua amicorum eius imagines 15
A.u.c. 608. summa omnium similitudine expressit —banc Metellus Mace-
donia subacta transtulit Romam — fecit et quadrigas multo-
65 rum generum. statuariae arti plurimum traditur contulisse

§ 63. 4. temulenta tibicitia : a portraitsof Alexander see Koepp,

votive or grave statue, cf. the anus Winckelmannsprogramm, 1892. The
ebria of Myron, xxxvi, 32 ; the fsal- story told in Bk. vii, 125 (cf. Plut.
tria by the painter Leontiskos, xxxv, Alex, iv), that Lysippos alone was
141, &c. privileged to make bronze statues of
5. canibus ao venationo : cf. the Alexander, must like the similar stories
Alexandri ven. below, § 64. Large of Apelles (xxxv, 85) and Pyrgoteles
hunting groups came largely into (xxxvii, 8) be accepted cum grano.
vogue from Alexaniier onwards cf. ; % 64. 13. cum is centum prope
Kuhnert, Statue und Ort, p. 331. Ur- annis Pliny's difficulty arises from his
:

lichs {Skopas, p. 196) believes that the
fine fragment of a rider from the
Mausoleion (Brit. Mus.) had formed
part of such a group.
Sole Bhodiorum : for
Helios with Lysippian characteristics,
only knowing of the Elder and more
famous Polykleitos, whereas a younger
P. is known from Pans, vi, 6, 3 (also
/. G. B. 92). Since the greater artists
a head of often become credited with the works
of their less illustrious confreres, it is

found in Rh odes, cf Hartwig, Testa di ' probable that, as Loeschcke {A. Z.

Rom. Mitlh. ii, pp. 159-166.
Helios,' 1878, p. 10 ff.) has already pointed
Alexandr. Magnum the most
6. : out, theHephaistion really was by the
famous was the Alexander with the younger Polykleitos. So too a number
snear (Plut. itipi t^s 'hK. tix^^ ii, of the works by the pupils of Pheidias
2) ; the motive seems reproduced in cnme to be reckoned as by the master
the nude bronze portrait in the Terme himself. Introd. p. xciii.
Mus. (Helbig, Class. Ant. 1052 ; 14. venationem . . . Delphis
Ant. Denkm. i, 5; Furt dangler, dedicated by Krateros on the occasion
Masterpieces, p. 364, n. :.). For narrated by Plutarch {Alex. 40), who
 //. BRONZE STATUARY 51

control in the first years of his reign, he could not refrain from
having the statue removed into his private chamber, substituting
another in its place. The populace of Rome resented this so
deeply that they raised an outcry in the theatre, demanding the
restitution of the mro^vofievos, to which the emperor was fain to

he had conceived for the statue.

yield, in spite of the passion

Lysippos has also won fame by his drunken flute-player, his dogs es
and huntsmen, and above all by the four-horse chariot and the
figure of the Sun made for the Rhodians. He also made a number
of portraits of Alexander the Great, beginning with one of him as
a boy, which the Emperor Nero, who was greatly charmed with the
statue, ordered to be gilded. Then, as this costly addition spoiled

the beauty of the work, the gold was removed, and the statue was
considered more valuable without it, in spite of the scars upon it

and the incisions for fixing the gold. Further he made a statue 64
of Hephaistion, the friend of Alexander the Great, which some
ascribe to Polykleitos, although that artist lived almost a hundred
years earlier. We have also from his hand an Alexander in
a hunting group, which is consecrated at Delphoi, a Satyr at
Athens and a troop of Alexander's bodyguard, in which all his

friends' portraits are rendered with great fidelity. This group

was transported to Rome by Metellus after the conquest of 146 b.c.

Makedonia. By Lysippos also are various four-horse chariots. His 65

chief-cantrjbutions^ to -the art of sculpture are said to consist

states that the work was executed which -would serve Lysippos as guide;
conjointly with Leochares. According cf. the undoubted portraits on the
to Loeschcke {Jahrh. iii, 1888, p. 'Alexander' sarkophagos from Sidon,
139!) an echo of this work has sur- where, however, we can hardly suppose
vived on a relief from Messene in the the persons represented to have given
Louvre {loc. cit. pi. vii), cf. also Hans the artist sittings.

Dragendorff, Terra Sigillata, p. 57. 16. Maoedoniasubaota: thegroup

15. turmam Alexandri: i.e. the had stood in Dion, probably in the
twenty-five officers who had fallen in temenos of Zens, where were the statues
the first attack at the Granikos. A of the Makedonian kings (Heuzey,
statue of Alexander formed the centre Mont Olymfe, p. 1 1 8). Arrian, writing
of the group. Veil. Paterc. i, II, 3. A.D. 124, mentions it as still at
amieorum . . . imagines : this Dion, probably because he is quoting
assertion has been supposed to clash from some life of Alexander written
with the statement that the dead -H-ere previous to the Roman conquest,
buried on the battle-field (Arrian i, 17. Bomam: first in the forticus
16, 6). But seeing how extensively Melelli, which was afterwards ab-
portraiture was encouraged in the sorbed into i\ieporticus Oclaviae (Veil,
circle of Alexander, there doubtless Paterc. loc. ai.). The statues were on
were extant portraits of the officers, the area (cf. Varro «/. Macrob. iii,
F. 1
 52 C. PLINII SECUNDI NAT. HIST. XXXIV
capillum exprimendo, capita minora faciendo quam antiqui,
corpora graciliora siccioraque, per quae proceritas signorum
maior videretur. non habet Latinum nomen symmetria
quam diligentissime custodit nova intactaque ratione qua-
dratas veterum staturas permutando, vulgoque dicebat ab 5

illis factos quales essent homines, a se quales viderentur esse,

propriae huius videntur esse argutiae operum custoditae in
66 minimis quoque rebus, filios et discipulos reliquit laudatos
artifices Laippum, Boedan, sed ante omnes Euthycraten,
quamquam is constantiam potius imitatus patris quam lo

elegantiam austere maluit genere quam iucundo placere.

itaque optime expressit Herculem Delphis et Alexandrum
Thespis venatorem et Thespiadas, proelium equestre, simu-
lacrum ipsum Trophonii ad oraculum, quadrigas complures,
67 equum cum fuscinis, canes venantium. liuius porro 15

discipulus fuit Tisicrates et ipse Sicyonius, sed Lysippi

sectae propior, ut vix discernantur compLura signa, ceu
senex Thebanus et Demetrius rex, Peucestes Alexandri
13. Thespiadas] om. Bamb., Deiiefsen. 15. fiscinis Bamb., Detlefsen.

4, 3) in front of the temples — Jupiter 7. argutiae operum : cf. xxxv,

and Juno (frontem Oedinm speciant 67 Parrhasius . . . dedit primus ar-
Velleius loc. cit.\ cf. xxxvi, 35, 40. gutias aoltus ; Cic. Bruins, 45, 167
§ 65. 3. symmetria: so in xxxv, and O. Jahn's note.
67, 128 Pliny retains the Greek word, § 66. 8. filios et discipulos: the
although, as Otto Jahn has pointed notice of the sons of Lysippos is from
oat {Kunsiurtheile, p. 131) proportio the same author as the preceding five
or commensus afforded an adequate appreciations. Introd. p. xxi.
Latin equivalent. For a like reluc- Laippum: above § 51; cf.
9.
tance to translate a Greek word which § 87. —
Boedan below § 73- :
—
had come to have a precise meaning Euthykraten § 83. :

cf. xxxv, 98 quae vocant Graeci eihe. 10. quamquam.. maluit points . . :

6. quales viderentur esse ; Pliny, to a reaction within the Lysippian

or his authority, is here finding a school to the older and severer Argive
formula for the conflict between the manner.
desire to represent things as they are constantiam : cf. Petron. 88 Ly-
known and that of presenting
to be, sippum, stattiae unius Uneamentis
them as they appear to be. The form inhaerentem, inopia extinxit.
ofthe aphorism seems influenced by the 12. itaque optime: explanatory,
jfords Aristotle puts into the mouth of not of the preceding quamquam, but
Sophokles, Poet. 1 460 b : "Ztx^oxKri^ eiprj of the general excellence of E. (Blilm-
aiiTos fiiv o'iov^ dtiTTOieiv, EvpiwiSrjv Si ner, Rhein. Mus. xxxii, p. 610).
ofoi flaiv (cf also in Poet.
1448, the ff'. 13. Thespiadas a Praxitelean :

judgement passed on Polygnotos, Pau- 39 so his father made

subject, xxxvi, ;

son and Dionysios), Introd. p. Ixiif. for the same Thespiai an Eros, as
 //. BRONZE STATUARY 53

in his vivid rendering of the hair, in making the heads smaller

than older artists had done, and the bodies slimmer and with \

less flesh, thus increasing the apparent height of his figures.

There is no word in Latin for the canon of symmetry [uu/ijucTpio] |

which he was so careful to preserve, bringing innovations which /

had never been thought of before into the square canon of the /

older and he often said that the difference between him-

artists, /

self and them was that they represented men as they were, and
he as they appeared to be. His chief characteristic is extreme
delicacy of execution even in the smallest details.
He left artists of high reputation in his sons and pupils, Laippos, 66
t Boedas, and above all Euthykrates; the latter however imitated '^"^^jl^
not so niKch the refinement as the perseverance of his father,
choosing to win approval by an austere rather than a lighter style
of execution. In this manner he made for Delphoi an admirable
statue of Herakles, for Thespiai an Alexander hunting, a group of
the Thespiades and a combat between horsemen, a statue of
Trophonios within his oracular cave, several chariots with four
horses, a horse carrying hunting prongs, and hunting dogs.
His pupil was Teisikrates, also a native of Sikyon, who 67
followed more closely the school of Lysippos, so that many Teisikrates
of his
works can hardly be distinguished from those of the master Euthy- :

man at Thebes, of king Demetrios Urates.

witness his portrait of an old
and of Peukestes, who saved Alexander's life and well deserves
the honour of a statue.

Praxiteles before him. It may be Mopsos on the cylix by Glaukytes and

that the Thespians owed to the bounty Archikles in Munich (Klein, Meister-
of Alexander (whose allies they had sign. p. 77 = Gerhard, Auserksene
become 335) these Lysippian
in B. C. Vasenbilder, iv, 235). Further, on an
bronzes, rivals of the celebrated Praxi- archaic cylix from Kameiros (men-
telean marbles. (So Klein, _/a,4?-*. ix, tioned, A. Z. xxiv, 1866, p. 296),
1S94, p. 166.) Bellerophon, riding Pegasos, is re-
proelium equestre a : votive offer- presented with a similar pronged fork
ing like the turmam Alexandri, § 64, hands of one of the huntsman
also in
cf. Kuhnert, Statue u. Ort, p. 331. on two amphoras in Berlin (Furt-
[From simulacrum to canes yte have wangler, Cat. 1705, 1706), otherwise
an inverted alphabetical list. — H.L.U.] the pronged fork is known only as
14. ad oraculum : the actual cave a fishing implement. The horse, the
as distinct from the temple, which quadrigae just mentioned, and the
contained a statue of the god by following canes (cf. note on canem
Daidalos (Paus. ix, 39, 8), and another in § 57) all belong to the usual class
by Praxiteles (ib. § 4). of votive offerings.
15. fusoinis : two-pronged spears, J 67. 16. Tisiorates ; § 83.
such as are used by Meleager and 18. senex Thebartus : not Pindar
 54 C. PLINII SECUNDI NAT. HIST. XXXIV
68 Magni servator, dignus tanta gloria, artifices qui com-
positis voluminibus condidere haec miris laudibus cele-
brant Telephanen Phocaeum ignotum alias, quoniam in

Thessalia habitaverit, et ibi opera eius latuerint, alioqui

suffragiis ipsorum aequatur Polyclito, Myroni, Pythagorae. 5

laudant eius Larisam et Spintharum pentathlum et Apol-

linem. alii non banc ignobilitatis fuisse causam, sed quod

se regum Xerxis atque Darei officinis dediderit, exfetimant.

69 Praxiteles quoque marmore felicior, ideb et clarjor fuit.
fecit tamen et ex aere pulcherrima opera Pro^erpinae : 'o

raptum, item catagusam, et Liberum patrem, et EbJ-ietatem

nobilemque una Satyrum quern Graeci periboeton! cogno-
minant, et signa quae ante Felicitatis aedem fuere, Venerem-
que quae ipsa aedis incendio cremata est Claudii principatu,
70 marmoreae illi suae per terras inclutae parem, item stepha- 15

assome have supposed or the name — and of Dareios (the First B.C. 521-
would almost certainly have been 485, the Second B. c. 425-405) are
preserved, but merely a portrait. Furt- apparently only introduced to attach
wangler, Domauszieher, p. 92. the statement to well-known names.
Demetrius : i. c. Poliorketes, be- The dates are plainly irreconcilable.
came king B.C. 307, died B.C. 283. § 69. 10. Proserpinae raptum ;

Peuoestes tribus iaculis con-

: the extant representations of the Rape
fossus, non se tamen scuto, sed regem, of Persephone have been carefully col-
tuebatur Q. Curtius ix, ch. 5, 21; lected by Fbrster, Raub u. Riickkehr
the episode occurred during a siege in d. Perseph. in Philologus, Supplement-
the territory of the Oxydrakai, or ac- band iv. A number are reproduced by
cording to Arrian vi, 10, and Plutarch, Overbeck, Atlas d. Kunst Myth. Taf.
Alex. Ixiii, in that of the Malloi. 17, 18 ; none however can be referred
§ 68. I. artifices qui : i.e. Xeno- with any certainty, or even probability,
krates and Antigonos, see Introd. to the group by Praxiteles. Forster
p. xxii. haec, i. e. everything men- hesitatingly suggests that the coin of
tioned §§ 49-68. Kasa (Overb. K. M. Milnztafel, ix, 12)
3. Phocaeum : from the Ionian reproduces the group of Praxiteles.
Phokaia, $eu«aros ; cf. Furtwangler, The subject of the Rape was treated
Masterpieces, p. 57. It is unnecessary by the painter Nikomachos, xxxv,
to look upon the word as a variant 108.
for Phocencis. item: introduces a new sub-
II.
6. Iiarisam worth noting in
: it is ject,catagusa the true meaning was
;

this connexion the beautiful head of given as early as by Dalecampius, t^i*

the nymph Larissa on the coin, P. Karayovaav quae pensa nendo ducet
Gardner, Types, pi. vii, 1 7 ; Rev. unde et xaTayixa so independently
;

hotse and horseman treated in a style Loeschcke, A. Z. 38 (1880), p. 102 f.

reminiscent of Parthenon frieze. The meaning of xark-iav is further
7. alii non : see Introd. loc. cit. discussed by Fbrster, loc. cit. p. 719
The names of Xerxes (b. C, 485-465) H. L. Urlichs iJVoch. f. Klass. Phil.
 //. BRONZE STATUARY 55

Those sculptors who have written treatises on the subject give 68

,,,.,.
high praise to Telephanes of Phokaia,
since, they say, he hved in Thessaly, where
who is otherwise unknown, TeUphanes
his works remained
of Phokma.

unnoticed. These writers however adjudge him a place beside

Polykleitos, Myron and Pythagoras, praising his statues of Larissa,
of Spintharos, a winner in the five contests, and of Apollo.
Others give a different reason for his comparative obscurity,
saying that he passed into the service of king Xerxes and of
Dareios.
Praxiteles also, though more successful and consequently 69
better known as a worker in marble, created admirable works Praxiteles.
in bronze : a rape of Persephone, the Koraynvira or Girl Spinning,
a Dionysos, a figure of Intoxication grouped with an admirable
Satyr known among the Greeks as the irepi^driTos or Renowned,
and also the statues which stood in front of the temple of
Felicity, and an Aphrodite which was also destroyed when the
temple was burned down in the reign of Claudius, the worthy
peer of his famous marble Aphrodite. Other works of his are 70
the (TT((l>avovcra, or woman presenting a wreath, the -^eXioviisvr), or

1894, p. 227 f.) compares for the ebriolatum {Mus. Ital. d. AnticA.
motive the spinning maiden, Furt- Class, iii, p. 787) ; not only is it irre-

wangler, Samml. Sabouroff, PI. xix concilable with the evidence of the
and the bronze Munich, Glypth.
statue, MSS., but the use of the word ebrio-
314. I take the Kardyovaa to have lare, only known from a fragment

been a grave statue for spinning and

; ofthe.ffi!^««?'«of Laberius(a/.Nonius,
similar motives on graves, see Weiss- 108, 6), is quite unproved for prose
hanpl, Gratgedichte der Gr. Anthol. writers.

p. 77, note 3. 13. Felicitatis aedem : on the

Liberum patrem : [it
understand the Dionysos as forming
a group with the two following statues,
but the fact that up to Veneremque
the enumeration of single works is
given by et., shows that Pliny, at any
is usual to Triumphal Street (Dio Cassius 43,
21) built by L. Lucullus, B.C. 151;
see note on xxxvi, 39. The signa
being bronze are of course distinct
from the marble Thespiades of xxxvi,
39 a number of Praxitelean works had
;

rate, understood the Dionysos as a been gathered together in the precinct

separate statue, and the figure of In- of Felicitas, just as the temple of the
toxication and the Satyr only (their Fortune of The Day contained works
close connexion being indicated by by Pheidias and Pythagoras (above,
the use of -que) as forming a group §§ 54. 6o)-
together ; the second et is omitted in 15. marmoreae illi : xxxvi, 20.
Cod. Bamb., but in cases of omission § 70. stephanusam probably in :

of syllables or even words, little faith a group with an athlete, in which

can be put in this otherwise excellent case the GTi'^avov^ifj. would be the
—
MS. H. L. U.]. This observation personification of the festal city where
disposes of a recent conjecture Liberum the athletic victory had been won;
 56 C. PLINII SECUNDI NAT. HIST. XXXIV
nusam, pseliumenen, oporan, Harmodium et Aristogitonem
tyrannicidas, quos a Xerxe Persarum rege captos victa
Perside Atheniensibus remisit Magnus Alexander, fecit
et puberem Apollinem subrepenti lacertae comminus sagitta
insidiantem quern sauroctonon vocant. spectantur et duo S

signa eius diversos adfectus exprimentia, flentis matronae

et meretricis gaudentis. hanc putant Phrynen fuisse de-
prehenduntque in ea amorem artificis et mercedem in vultu
71 meretricis. habet simulacrum et benignitas eius, Cala-
midis enim quadrigae aurigam suum inposuit, ne melior in lo

equorum effigie defecisse in homine crederetur. ipse Calamis

et alias quadrigas bigasque fecit se impari, equis sine aemulo
expressis. sed, ne videatur in hominum effigie inferior,

I. oporan] Rice; operan Voss.; eplioram Bamb.; canephoram Urlichs in

Chrest., DetUfsen. 12. sem pari equis Bamb., corr. Trazcbe; equis semper
reliqui, Detlefsen.

cf. Athen. xii, 534 D : b yXv (sc. p. 144, supposes the displacement of a
triva^ etx^v 'OXvfiTndSa Kal IlvdidSa heading Antenor, belonging probably
(rT£cf)avovo'as avTov {^Aktci^idSTjv'). For to the alphabetical list which begins
the artistic motive cf. the relief in the in § 72.
Akrop. Mus., A. Z. 1869, 24 = Friede- 3. Magnus Alexander: so also
richs- Wolters, 1188. [From Stephan. Arrian, Anab. iii, 7, 8 \ Antiochos
to Harmod. et Arist. we have an according to Pans. loc. cit. ;Seleukos
inverted alphabetical list (cf. § 66) ;
according to Val. Max. ii, 10, ext. i.
this confirms the MS. reading oporan, 4. subrepenti laoertae : from
—H. L. U.] a descriptive epigram ; cf. Martial,
1 pseliumenen : for an analogous xiv, 172.
motive see the little bronze, yaA;-i5. ix 5. sauroctonon: finest replica in
1894, pi. xi; its connexion vrith Prax- Louvre, phot. Giraudon 1200.
iteles cannot however be pressed 6. flentis ..gaudentis
. epi- :

further. grammatic antithesis, cf. the molliter

oporan [for a personification of
: iuvenis and viriliter pusr of § 55.
autumn cf. Ar. Etpiivti 523 ff., where The statues were certainly only jux-
imiipa is brought in to wed Trygaios taposed in the epigram. The Jlens
thus the subject, which fits excellently mairona, like the similar figures by
into the Praxitelean series, is also Sthennis (below § 90) was a portrait
proved to have been a conception statue for a grave ; Praxiteles is known
familiar in the fifth and fourth cen- to have made at two grave
least
turies, H. L. U.]. monuments (a) ; the warrior and his
2. quos a Xerxe . . . Alexander: horse, Pans, i, 2, 3 ; {b) the monu-
since this statement is true only of the ment to which C, I. G. 1604 belonged J
group by Antenor, Pans, i, 8, 5, it cf Furtwangler, Dornauszieher, p. 91
seems probable that the mention of note 43 ; above note on catagusa. ¥ox
Praxitelean Tyrant-Slayers is due the artistic motive see the fine statue
to a confusion. Urlichs, A. Z. 1861, in the Louvre, phot, Giraudon 11 74.
 II. BRONZE STATUARY 57

woman clasping a bracelet on her arm, oircipa or Autumn, and

statues of Harmodios and Aristogeiton, the Slayers of the Tyrant.
These were carried off by Xerxes, king of the Persians, and i

restored to Athens by Alexander the Great after his conquest of :

Persia. He also made a young Apollo with an arrow watching

a lizard as it creeps up with intent to slay
hand ; this it close at
is known There are two
as the a-avpoKToms or Lizard-slayer.
statues by him expressing contrary emotions, a mourning matron
and a rejoicing courtesan.. The latter is believed to be Phryne. ,

The sculptor's love may be read in the whole statue, and

Phryne's satisfaction is depicted on her face.
There is also a statue which the kindness of 71
testifies to '

Praxiteles, for he made a charioteer for a four-horse chariot by ^"^^^"<>f

Kalamis, not wishing it to be thought that Kalamis failed in the towards
man ^"^'^wmj.
after Kalamis made other four
succeeding in the horses.
and two-horse chariot-groups with varying success, though un-
rivalled in his horses. And yet, for it must not be thought that

7. putaut Phrynen : doubtless Onatas makes the chariot, while

correctly ; it should be noted,, however, Kalamis makes the «eA.7/Tes iVttoi at

that Pliny mentions neither of the either side, Paus. vi, 12, i. [In the
celebrated statues of Phryne at Thes- case of the Younger (?) Praxiteles it

piai and at Delphoi, Furtwangler, loc. is expressly mentioned as noteworthy,

cit. that for a grave monument he made
8. mercedein : the meaning is not both the horse and the horseman : Koi
altogether clear ; the words may T^v LTrnov Kai rbv arpaTLdn-Tjv Paus. i,

contain an allusion to the yafffiiJs given 2, 3, — H. L. U.] The inscription on

by Praxiteles to Phryne, in the shape the bathron of the chariot gave the
of the Eros which she dedicated at names of both artists, and the juxta-
Thespiai, Anth. Plan. 204 (cf. Benn- position was sufficient to give rise to
dorf, Efigr. p. 53). Again the merces the story of the benignitas. The
may refer to Phryne's reward in the chariot was of course a votive offering,
artist's love; or —in the lower sense a viib^r\}i.a t^s v'mris (cf. in this book
of payment — it maycontain an allusion §§ 64, 86, 88 ; XXXV, 27, 99, 108,
to her venality as meretrix. 141, &c). Introd. p. Ixv.
% 71. 10. aurigam suum im- 1 2, se imparl, equis sine aemulo
posuit : since Kalamis (above § 47 ;
expressis ; the reading, while derived
xxxiii, 156; xxxvi, 36) flourished in the straight from Cod. Bamb., further
early part of the fifth century, the auriga brings out an epigrammatic antithesis;
must have been by the Elder Praxiteles the full meaningis as follows This :
'

(Klein, Arch. Ep. Mitth. 1879, p. 8 ;

same K. failed through his inability
Benndorf, CuUusbild derAthena Nike, to do the human figure, in other
p. 47 ; Furtwangler, Masterpieces, chariot-groups as a whole, albeit the
p. 102 ff., &c.). A division of labour horses taken alone were unrivalled '

in the case of important monuments cf. Prop, iii, 9, 10 exactis Calamis

was quite common, e. g. for Hieron, se mihi iactat equis. Introd. p. Ixix.
 58 C. PLINII SECUNDI NAT. HIST. XXXIV
72 Alcman poeta nullius est nobilior. Alcamenes Phidiae
discipulus et marmorea fecit et aereum pentathlum qui
vocatur encrinomenos, at Polycliti discipulus Aristides
quadrigas bigasque. Amphicrates Leaena laudatur. scortum
haec lyrae cantu familiaris Harmodio et Aristogitoni con-
silia eorum de tyrannicidio usque in mortem excruciata
a tyrannis non prodidit, quamobrem Athenienses, et honorem
habere ei volentes nee tamen scortum celebrasse, animal
nominis eius fecere atque, ut intellegeretur causa honoris,
73 in opere linguam addi ab artifice vetuerunt. Bryaxis
Aesculapium et Seleucum fecit, Boedas adorantem, Baton
Apollinem et lunonem qui sunt Romae in Concordiae
74 templo, Cresilas volneratum deficientem in quo possit

1. Alcman poeta] E. Sellers ; alcamen et Bamb. (alcame et e corr.)

alchimena reliqui ; Alcmena Dethfsen.

I. Alcman poeta; it was pointed term with reference to the eyiepiait

out by Benndorf {op. 47) that
cit. p. clOKtitSiv. Modem commentators, how-
the original reading had been cor- ever, generally refer the epithet to the
rupted by the neighbouring^/^a/«f m^^. statue, and explain it as approved,
The readings Alcmena or Almmena chosen^ classical or canonical ('class-
are unsatisfactory, since the subject isch '
'
mustergiltig,' Urlichs in Chrest.
could hardly be reckoned among homi- p. 325 cf. O. Jahn, Kunsturtheile,
;

num effigies. The reading Alcman p. 125; H. L. Urlichs, Blatter f. d.

poeta now proposed meets this difh- bayr. Gymnasialsch. 1894, pp. 609-
culty, while the subject falls within 61 jl. But the iyxpiais d9\. (Lucian,
the range of Kalamis. He is known virip Tav flxov. 1 1 ; cf. Xen. Hell, iv, I,
to have worked for Sparta from Paus. I o), lit. the 'examination' of the athletes
X, 16, 4 (cf. Klein, Arch. Ep. Mitih. (probatio Cic. Off. i, 144) was too well
1881, p. 84), and might well be called known as an athletic term for the
upon to execute a statue of its greatest epithet kyKpivofievos as applied to the
poet. For a statue of Alkman cf. portrait of an athlete to be understood
Anth. Pal. vii, 709, an epigram which in any other sense than the one given
W'eisshaupl {Grabgedichte der Gr. to it above. The present participle,
Anth. p. 45) suggests may have be- instead of the more usual kyxpiSeis (cf.
longed to a statue of the poet at the inscr. Ross. Griech. Konigsreisen,
Sparta, cf. also Anth. Pal. vii, 18, i,p. 96) shows that the athlete was
19. Nobilior — cf. nobilis applied represented in the act of submitting
below to the portrait of Perikles by to the eyKptffis. The occurrence of
Kresilas. Encrinomenus as a Roman
the epithet
§ 72. Alcamenes : above § 49, proper name (C /. Z. v, 1, 4429), by
xxxvi, 16. proving its familiarity, suffices to dis-
3. encrinomenos : encrinomenos credit old emendation of Bar-
the
vocatur i qui atkletis ad?iumeratur, id barus encriomenos, which had lately
est qui in eoi'uvi nuviero recipitur, come again into favour. The proposed
so Turnebus {Advers. p. 486, cf. the identification of the encrinomenos
note of Dalecampius) explains the with the statue of an athlete holding
 //. BRONZE STATUARY 59

he was inferior to others in representing the human figure, no

artist has better portrayed the poet Alkman.
Alkamenes, a pupil of Pheidias, produced works in marble as 72
well as a winner in the five contests in bronze, called the
iyKpivofifvns [undergoing the test]. A pupil of Polykleitos, Aris-
teides, made chariots with four horses and with two. \Amphikrates Monument
^'''''"'
is famous for his \iaiva or Lioness : this Leaina was a courtesan, °j

intimate through her playing on the lyre with Harmodios and

Aristogeiton, whose plot of assassination she refused to betray,
although tortured to death by the tyrants. The Athenians were
anxious to pay her honour, and yet unwilling to commemorate i

a courtesan by a statue ; they accordingly made a figure of the '

animal whose name she bore, and to indicate their reason for

honouring her, they forbade the artist to give it a tongue.

Bryaxis made an Asklepios and a Seleukos ; \Boedas a praying 73
figure, Baton the Apollo and Hera which are in the temple

of Concord at Rome, Kresilas, a wounded man at the point 74

the disc preparatory to the throw (Brit. (cf. also Athen. xiii, 596 f.) Introd.
Mus. and Vatican Helbig, Class. Ant.
; p. Ixxvi, note 3.

331, where see literature) is, to say § 73. 10. Bryaxis : above § 42 ;

the least, open to doubt. xxxvi, 30.

Aristides possibly identical with
: 11. Aesoulapium for Megara he :

the painter, master of Euphranor, xxxv, made an Asklepios grouped with

75 ; Kroker, Gleichnamige Kunstler, Hygieia, Paus. i, 40, 6.
p. 25. Seleuoum: i.e. Nikator, reigned
4. Xjeaena
87 the story, told
: vii, ;
B. c. 312-280 ; cf. below § 86; for his
also Plut. de Garrul. 8 Pans, i, 23, ;
portraits see Wolters, Hiim. Mitth. iv,

1 ; Polyainos, XTparrj-piii. viii, 45 ; cf. 1889, pp. 32-40.

Cicero, Glor. ii,fr. 12 (all without men- Boedas above : % 66.
tion of artist's name), is an obvious adorantem in : the scheme doubt-
invention. Had the '
Lioness ' been less of the Praying Boy' (Berlin, Cat.
'

originally connected with the Tyrant- 2), ci.Jahrb. i, 1886, p. i ff. (Conze)
Slayers her monument must have stood for the type of the adorans on coins
by theirs kv Kepa/ieiKw (Arrian, Anal). Jahrb. iii, 1886, p. 286 ff. (Imhoof-
iii, 16, 8), instead of at the entrance Blumer), on a gem ib. I. p. 217 (Furt-
to the Akropolis (Pans. he. cit.). wangler).
Further, since the oldest authorities, Baton : below § 91 ; known from
Herodotos and Thulcydides, in their /. G. .5. 61, as a native of Herakleia.
account of the murder of the Tyrants, 12. Coneordiae tempi : at the
know nothing of this Leaina, it is base of the Capitol, vowed B. C. 367
probable that she was an ordinary by Camillus, and built afler his death

votive-offering; the fact that the by the State; restored by Tiberius

artist had failed to give the animal (ded. A. D. 9). It was the most usual

a tongue, or that in the course of time meeting place of the Senate.

the tongue had got broken away, § 74. 13. Cresilas: above § 53.
having given rise to the anecdote vulneratum apparently identical :
 6o C. PLINII SECUNDI NAT. HIST. XXXIV
intellegi quantum restet animae et Olympium Periclen
dignum cognomine, mirumque in hac arte est quod nobiles
viros nobiliores fecit. Cephisodorus Minervam mirabilem
in portu Atheniensium et aram ad templum lovis Servatoris
75 in eodem portu, cui pauca comparantur, Canachus ApoUinem 5
nudum qui Philesius cognominatur in Didymaeo Aeginetica
aeris temperatura, cervumque una ita vestigiis suspendit ut
*linum* subter pedes trahatur alterno morsu calce digitisque
retinentibus solum, ita vertebrate dente utrisque in partibus
ut a repulsu per vices resiliat. idem et celetizontas pueros, 10

Chaereas Alexandrum Magnum et Philippum patrem eius

3. Cephisodorus] Bamb. ;
Cephissidorus reliqui. 8. inlitum Bamb.
trahantur Bamb.
with the statue of Dieitrephes 3. Minervam mirabilem . . . et
pierced by arrows, Paus. i, 23, 3 aram cf Paus. i, i, 3 flt'as
: : %\ a^iov
(where the artist is not named) the ; Twv iv UeipatH pidXiara 'AOtjvcls kffrt
extant inscription ('Epit6\vicos Aieirpe- Kai Atos Tf/jievos' x^^*^**^ f^^^ ajj^poTipa
<posdvapxev Kpiai\as lircSccrec /. G. B, rd ^70X^x0, ex^* ^^ ^ P-^^ anTjTTTpoi/
46) should place this beyond a doubt, Kal viKTiv, ij 5e *ABrivas S6pv. The
were it not that the epigraphy is too Tiftfvos has been shown to be probably
early for the date of Dieitrephes, who contemporary with the restoration of
according to Fausanias was identical the Peiraios by the architect Hippo-
with the Athenian general mentioned damos of Miletos (Arist. Bol. ii, 8, i),
Thuc. vii, 29 (b. c. 414) ; cf. Kirchhoff under Perikles (so Wachsmuth, Stadt
on C. I. A. i, 402. Furtwangler AtAen, ii, p. 141 f.). Thus, if the
{^Masterpieces, p. 122) accordingly monuments mentioned by Pliny and
proposes to identify the Dieitrephes Pausanias are, as seems reasonable to
of the statue with an older name- suppose, identical, Kephisodoros would
sake, father of the Nikostratos,'who be an artist of the Periklean age.
was a general commencement
at the I see no reason for following Furt-
of the Peloponnesian war (Thuc. iii, wangler {Masterpieces, p. 145 f.) in
75 'V. 119, 129).
; For possible re- assuming a displacement of Pliny's
productions of the statue see Furt- notes,and giving the works mentioned
wangler, op. cit. figs. 49, 50
48, to Kresilas (cf. B. Keil in Hermes, xxxi,
(against his views cf. C. Robert, Hall. 1895, p. 225). Introd. p. Ixxv Add. ;

Winckelmannspr. 1895, p. 21 f.). § 75, 5. ApoUinem : it was the

I. Periolen for the portrait
: exact replica of the same artist's Apollo
(without name of artist), cf. Paus. i, at Thebes, except that the latter was
25, I. Its inscribed basis was dis- of wood, cf. Paus. ix, 10, 2 ; ii, 10, 4;
covered in 1888, see AiXriov, 1889, the type is reproduced both on the
p. 36 ff. (Lolling). terminal por-A autonomous and Imperial coinage of
tr^t of Perikles, extant in several Miletos, A. Z. 18, ix, pi. vii, and page
replicas (Br. Mus. Cat.i,
549 Helbig, ;
90 (= CoUignon, Sculpt. Grecque,
Class.Ant. 281, where see literature) %• 153) and in the 'Payne-Knight
has been identified as a copy of the bronze (Br. Mus.) cf Furtwangler,
' ;

Kresilaian portrait. Addenda. ap. Roscher i, 451 the god, nude,:

 //. BRONZE STATUARY 6i

of death, whose face betrays how fast his life is ebbing, and
also an Olympian Perikles, worthy of the epithet. The marvel Perikles.

of his art is that it made famous men yet more famous. /L-
^Kephisodoros made a wondrous Athena in the harbour of Athens, '

and in the same city, in the temple of Zeus the Saviour, an altar
to which few are comparable.Kanachos made the nude Apollo, 75
which is named is in the temple at Didyma, of
the Lover and
Aeginetan bronze, and with it a stag so poised upon its feet, Apollo and
''^'
that a thread can be drawn beneath them while the heel and toe
alternately catch the ground, both parts working with a jointed
mechanism in suffices to make them
such a way that the impact
spring backwards and forwards. He also made boys on race-
horses, t Chaireas made an Alexander the Great and his father

stands erect, holding a small stag on either that the animal was on the
the palm of his R. hand, and the bow ground, or, according to a scheme
in his L. The work was executed familiar from statues of Artemis (also
previous to 01. 71, 3 ( = B. c. 494), in for Apollo in the gem Cades, Impronte,
which year Dateios (Herod, vi, 19 iv, 19, 20) that its hind feet were on
Pans, viii, 46, 3, erroneously says the ground while its front ieet were
Xerxes) sacked Miletos and took away held in the hand of the god. It is
the statue. The Apollo was restored evident that in the inlitum of cod.
by Seleukos Nikator, Pans. loc. cit. Banib. we have a corruption, while

and the linum of the later codices is a

i, 16, 3.
'
6. Philesius : aitiology sought to mere Interpolation intended to g£t an
explain the epithet by allusion to ordinary Latin word out of the corrupt
Apollo's love for Branches (Strabo, reading the original word must have
;

xiv, p. 634), so Varro, p. schol. to given the instrument provided with

Statins, Thebais, viii, 198 (ed. Lin- the dens vertebratus. Whether the
denbrog, p. 282 f.) ; Macrobius {Sat. stag was in reality provided with some
i, 17, 2) gives a symbolic explanation.
curious mechanism, or whether the
Aeginetioa temp. above § 8. : fact that it had been cast separate and
7. suspendit for the meaning: did not accurately fit on to the god's
given above cf. xxxvi, 117 iheafra palm had given rise to an explanation

iuxta due fecit amtlissima ligno, which has a flavour of concoction, it

cardinum singulorum versatili sus- is now impossible to tell (cf. however

pensa libramento. From the word the ingenious article of Petersen, A. Z.

solum it is evident that Pliny conceived xxxviii, 1880, pp. 22, 192).

the stag to have its feet on the ground, 10. repulsu: ai. -a., \^j^ pare eodem
an arrangement however which is in praegnas veneno impresso dentium
irreconcilable contradiction to the repulsu virus fundit in morsus
testimony of the coins, which show (Petersen)

the stag resting on the god's hand. oeletizontas pueros cf. on the :

We must suppose, therefore, that the Akropolis the bronze statue of Iso-
exact place of the stag was not krates as irafs KiXryrL^w. Lives of
described in the original account, Ten Orators, Isokr. 42 at Olympia ;

and that Pliny, unacquainted with Aisypos, son of Timon, Pans, vi, i, 8 ;

the statue, assumed, naturally enough, cf. id. vi, 12, I. A Kikr(TL^t>>v on the
 62 C. PLINII SECUNDI NAT. HIST. XXXIV
76 fecit, doryphoron et Amazonem volneratam,
Ctesilaus
Demetrius Lysimachen quae sacerdos Minervae fuit LXIIII
annis, idem et Minervam quae *musica* appellatur, quoniam
dracones in Gorgone eius ad ictus citharae tinnitu resonant,
idem equitem Simonem qui primus de equitatu scripsit. 5

Daedalus et ipse inter fictores laudatus pueros duos destrin-

gentes se fecit, Dinomenes Protesilaum et Pythodemum
77 luctatorem. Euphranoris Alexander Paris est, in quo
laudatur quod omnia simul intellegantur, iudex dearum,
amator Helenae et tamen Achillis interfector. huius est 10

Minerva Romae quae dicitur Catuliana, infra Capitolium

A.u.c. 6j5. a Q. Lutatio dicata, et simulacrum Boni Eventus, dextra
pateram, sinistra spicam ac papa vera tenens, item Latona

I. Ctesilaus] Sillig, Detlefsen ;G. tesilaus Bamb. ; desilaus reliqui.

3. myetica Bamb.

coin of Tarentum, Head, Guide, pi. god. Frbhner in Rhein. Mus. 1892,
24, 7. Addenda. p. 292, proposes to read mystica for
§ 76. I. Ctesilaus the name, : myetica, adding that ' the mysterious
though uncommon, is a good Greek resonance of the aegis recalled the
formation (cf. the formations ending music of the Eleusinian mysteries
-Xeois, -Xaos in Fick, Gr. Personen- when Hierophant struck the
the
namen, pp. 186 ff.), so that I see no ^X"'"'.' Dr. Traube suggests that the
grounds for altering the reading to reading might possibly be mycetica, i.e.
Kresilas as proposed by Bergk '
the Roarer ' fmKrjriKlis as an epithet
{Zeitschr. d. Alterth. Wissensch. 1845, of Poseidon occurs ap. Comutos, Nat.
p. 962), who is followed by most Dear. ch. 22, p. 42, Lang — it is quite
archaeologists. The argument derived possible that an aitiological explana-
from the Amazon (§ 53), though tion, derivedfrom the resonance of the
strong, is scarcely sufficient. bronze aegis, had been found for an
2. Demetrius : the famous a,v- epithet of which the original meaning
6pajircyjroi6sj Lucian, T/te Liars, l8. had been forgotten.
Lysimaclien = Paus. i, 27, 4: w/xis 5. de equitatu: iiepi limiicrjs Xen.
S^ vam Tw T^s 'A6T]vas, the follow- de Re Eg. i, 3.
ing information is derived from the 6. Daedalus : son of Patrokles
inscription on the basis of the statue, (/. G. B. 88, 89 Paus. vi, 9, cf.
;
3,
Tbpffer, Ait. Geneal. 128 ; for a above § D. signs "XiKviuvLos
50).
similar inscr. from the Akropolis (but {I. G. B. 89) and seems to be the first
belonging to a larger statue) of a member of the family who migrated
priestess who had served (?) \i^r{\KovTa to Sikyon cf. Furtwangler, Master-
;

8' Itt; [k]o! rkaaaf\_a\, see /. G. B. 64 pieces, p. 225.

Hitgig and Bliimner, Paus. p. 295. et ipse : marks Pliny's astonish-
3. musica the reading is an
: ment at the appearance of Daidalos
obvious interpolation, to make sense among the bronze-workers (rightly ex-
out of the corrupt myetica; the epithet plained by Oehmichen, Plin. Studien,
is not found of Athena or any other p. 192), perhaps because the only
 //. BRONZE STATUARY 63

Philip. t Ktesilaos made a Sopvtfiopos, or Spear-bearer, and 76

a wounded Amazon ; Demetrios a statue of Lysimache, who was
priestess of Athena for sixty-four years. He also made the
Athena called the Musical because the snakes of her Gorgon
resound to the notes of the cithara, and an equestrian statue of
Simon, the on horsemanship. Daidaios, who appears
first writer
here among the famous statuaries, made two boys scraping them-
selves, Deinomenes a Protesilaos and a portrait of Pythodemos
the wrestler. A statue of Alexander Paris by Euphranor is 77
said to display every phase of the Trojan's character: he is Jf'^'"^ ."-^
at once the judge of the goddesses, the lover of Helen, and yet his triple
the slayer of Achilles. The Athena at Rome known as the '^^P"^^-

Minerva of Catulus, which was dedicated below the Capitol by

Quintus Lutatius, is by Euphranor ; so is the statue of Good b,c. 7S.

Luck holding in the right hand a bowl, and in the left an ear
of corn and a poppy. He also made a Leto with the new-
personage of the name with whom he Tacit. Hist, iii, 72 ; Plutarch, Popl.
is familiar is the mythical Daidaios 15 ; above xxxiii, 57, &c. It is not
(vii, 198, 209 ; xxxvi, 85, cf. vii, 205). known whence he obtained Greek
destringentes se : for the motive works of art ; possibly from the inex-
cf. §§ 5S. 62- haustible booty of Aemilius Paulus

7. Dinomenes . above § 50 ;
cf. Urlichs, loc. cit.

distinct from the artist of the first Bonl Eventus : from the de-
century who made the statues of lo scription it is evident that the statue
and Kallisto (Paus. i. 25, J\ I. C, B. originally represented the Greek Trip-
233), cf. Gurlitt, Pausanias, p. 267 ff. tolemos (Urlichs, Chresiom. p. 326),

§ 77. 8. Euphranoris above : and was re-christened as a Roman

§ 50; XXXV, 128. His activity ranges agrarian divinity. Frbhner (.^Mid. de
from B.C. 375-330- VEmpire Romain, 35) was the p.
Alexander Paris the second name : first to recognize the type on the
is added to distinguish him from the obverse of a bronze medal of Hadrian :

king. The statue has not yet been youth, holding in one hand two ears
identified among our copies, Furt- of corn and two poppies, and in the
wangler, Masterpieces, p. 357 ff. and other a libation cup, is sacrificing at

Robert, Hall. Winckelmannspragr. an altar. For a still better reproduc-

xix, 1895, p. 20 ff. arrive at sur- tion on a gem (5r. Mus. Cat. 929) cf.

prisingly different results. Addenda. Furtwangler, op. cit. p. 350, where

11. infra Capitolium : Urlichs the gem is made the starting-point for
{Griechische Staiuen im Rep. Rom, a suggestive reconstruction of the

p. on the open space

11), suggests works of Euphranor.
afterwards occupied by the temple of 13. Latona sustinens . . . : the
Vespasian. work is still unknown ; cf. E. Reisch,
12. Q,. Lutatio, i. e. Catulo: after '
Ein vermeintliches Werk des Eu-
the of B.C. 85, the restoration of
fire phranor' in Fesigruss aus Innsbruck
the Capitoline temple and adjacent an die Phil. Versamml. in Wien,
buildings was entrusted to him; cf. 1893.
 64 C. PLINII SECUNDI NAT. HIST. XXXIV

puerpera Apollinem et Dianam infantis sustinens in aede

78 Concordiae. fecit et quadrigas bigasque et cliduchon eximia
forma, et Virtutem et Graeciam, utrasque colossaeas, muli-
erem admirantem et adorantem, item Alexandrum et
Philippum in quadrigis, Eutychides Eurotam, in quo artem 5

ipso amne liquidiorem plurimi dixere. Hegiae Minerva

Pyrrhusque rex laudatur, et celetizontes pueri, et Castor ac
Pollux ante aedem lovis tonantis, Hagesiae in Pario colonia
79 Hercules, Isodoti buthytes. Lycius Myronis discipulus fuit,
qui fecit dignum praeceptore puerum sufflantem languidos 'o

ignes et Argonautas, Leochares aquilam sentientem quid

rapiat in Ganymede et cui ferat parcentemque unguibu^
etiam per vestem puero, Autolycum pancrati victorem propter
quern Xenophon symposium scripsit, lovemque ilium to-

nantem in Capitolio ante cuncta laudabilem, item Apollinem '5

diadematum, Lyciscum mangonem, puerum subdolae ac

2. cliduchon] Barbanis ; cliticon Bamb., Detlefsen ; cliticum reliqui.
l6. Inciscns langonem reliqui.

I. aede Concordiae : above § 73. Anth. Pai. ix, 709 (Introd. p. Ixx).
§ 78. 2. oliduolion : a subject also Hegiae : for an older namesake,
treated by Pheidias, § 54. master of Pheidias, see § 49 for a ;

4. admirantem adorantem = et Hegias in the reign of Claudius see

a-no^Kinouaav 'looking up with awe /. G. B. 332.
at the image of the divinity,' Furt- Pyrrhusque rex for portraits
7. ;

wangler, Plinius, p. 46, cf. Dornaus- of this king (bom B. C- 319, died
zieher, p. 87, note 19. 2721, see Six, Pom. Mitth.yi, p. 279;
Alexandrum et Philippum : a Helbig in Melanges d'Arch. et cTHist.
suitable occasion for these statues xiii, 1893, pi. i,
pp. 377 ff. ii,

would be the battle of Chaironeia, The addition of rex gives such pre-
where Al. had distinguished himself cision to Pliny's statement that it is
by the side of Philip. unnecessary to suppose that we have
5. Eutychides above §51; dis-
: in the words Hegiae . laudatur a . .

tinct from his two later namesakes confused repetition of the Pyrrhus
{a) I.G.B. 143; {b) I.G.B. 244-249, Hygiam et Minervam of § 80 (cf.
and recently HomoUe in Bull. Corr. Wolters, Alh. Mitth. Kvi, 1891, p.
Hell. 1894, p. 336 f. To the pupil 155, note 2).
of Lysippos, Studniczka {Jahrb. ix, 8. lovia tonantis : above § 10
1894, p. 2ii) inclines to attribute the below § 79.
superb sarkophagos '
of Alexander Hagesiae 'Hyrjaias instead of
:

from Sidon. the more familiar diminutive 'H7iar,

BuTOtam : cf. the Orontes that so Ziv^miros for ZeS^ij Plat. Prat.
supports the city of Antioch by the 318 B (cf. Fick, Gr. Penimennamen,
same artist; above note on § 51. P- 35)-
6. plurimi ; i. e. the writers of Pario colonia: v, 141, founded
epigrams, Benndorf, Epigr. p. 54 ; cf. by the Parians, Milesians, and Ery-
 //. BRONZE STATUARY 6$

born Apollo and Artemis in her arms, now in the temple of

Concord, and chariots with four and two horses, a KKfihovxos or 78
Key-bearer, of great beauty, a statue of Valour, and one of
Hellas, both of colossal size, a woman in wonder praying, and
Alexander and Philip in four-horse chariots. Eutychides made
an image of the Eurotas of which many have said that the
artist's skill is clearer than the stream itself.

The Athena and the king Pyrrhos by Hegias are praised, so

are his boys riding on racehorses, the Kastor and Polydeukes which
stand in front of the temple of Jupiter the Thunderer, and also
the Herakles of Hegesias in the colony of Parion, and the ^ovSirris,
or Slayer of the Ox, by Isodotos. Lykios was a pupil of Myron ; in 79
the boy blowing a dying fire he created a work worthy of his
master ; he also made statues of the Argonauts. The eagle of Eagle
Leochares appears to know how precious a burden it is ravishing ^™^"£
in Ganymede and to what master it bears him, and its talons
hold the boy tenderly though his dress protects him. He
also made a statue of Autolykos, who was victorious in the pan-
kration and in whose honour Xenophon wrote the Banquet the ;

celebrated Zeus with the thunderbolt in the Capitol, a work of

supreme excellence ; an Apollo wearing the diadem the slave- ;

dealer Lykiskos and a boy, on whose face may be read the wily

thraians, Strabo, xiii, p. 588, 14 ; it of this work has been recognized in

was made into a Roman colony by the statuette, Helbig, Class. Ant. 400.
Augustus {Calonia Pariana Julia 13. Autolyoum: winner in the
Augusta). Pankration at the greater Panathenaia
§79. 9. Lyoius Myronis §50. : 01.8g, 3 = B.c.422 (the fictitious date
10. puerum sufBantem: same sub- of the 'Banquet,' Athen. v, p. 216 d),
ject treated by the painter Antiphilos murdered B. c. 404 by the Thirty
XXXV, 138. The work is of course dis- Tyrants. Since Leochares lived into
tinctfrom Hat fuersiiffitorhAorfijTccA the reign of Alexander, there can be
from the boy, also by Lykios, holding no question of his having made a por-
the holy water basin on the Akropolis, trait of Autolykos, but the latter was

Paus.l,23,7,bntthekinshipofthesub- sufficiently celebrated to have like —

jectsshows where the artistic strength Miltiades and other heroes of Athenian
of Lykios lay (cf. Wolters, Ath. history — statues raised to him after
Mitth. xvi, 189T, p. 153 ff. and Mayer, death (cf. Klein, Arch. Ep. Mittheil.
Arch. Jahrb. viii, 1893, p. 2i8f.). vii, 1883, p. 72).
11. Leocliares § 50. [His works
: 14. lovemque ilium tonaiLteni
are enumerated two alphabetical
in the motive of the statue may be re-
groups from aquilam to lovem, and
: covered from coins ; Cohen, MMailles
after item from Apollinem to puerum. Impiriales, 2nd ed. i, p. 88 ; Roscher,
— H. L. U.] ii, 748. Above § 10.
aquilam . . . Ganymede : a copy 16. Lyoisomn mangonem : Ur-
 66 C. PLINII SECUNDI NAT. HIST. XXXIV
80 fucatae vernilitatis, Lycius et ipse puerum suffitorem. Me-
naechmi genu premitur replicata cervice. ipse
vitulus
Menaechmus scripsit de sua arte. Naucydes Mercurio et
discobolo et immolante arietem censetur, Naucerus lucta-
tore anhelante, Niceratus Aesculapium et Hygiam qui . . . 5

sunt in Concordiae templo Romae. Pyromachi quadriga

ab Alcibiade regitur. Polycles Hermaphroditum nobilem
fecit, Pyrrhus Hygiam et Minervam, Phanis Lysippi
81 discipulus epithyusan. Styppax Cyprius uno celebratur
signo, splanchnopte — Periclis Olympii vernula hie fuit exta 10

torrensignemque oris pleni spiritu accendens — Silanion

Apollodorum fudit, fictorem et ipsum, sed inter cunctos
diligentissimum artis et iniquom sui iudicem, crebro perfecta

5. Hygiam] Hygiam fecit Detlefsen.

lichs {Chrestom. p. 328) refers the matic, cf. XXXV, 71, lit ankelare senti-

subject to the influence of the Middle atur ; Reisch, Weihgeschenke, p. 45.

Comedy. Avxtaicos, as title of a play 5. STiceratus Nim/paros EJktiJ-
:

by Alexis, is preserved by Athen. xiii, /joyos 'A6r]vaios, Frankel, Jnschr. aus

p. 595 d; the /K«?- must have formed Perg. 132; also /. G. B. 147, 496;
a group with the mango ; but Pliny, works conjointly with Phyromachos,
who is here giving an asyndetic ib. 118 (from Delos).
enumeration of single works, seems Aesculapium et H. Frankel
: (Joe.

to have understood them to be sepa- cit.) suggests that the group was ori-
rate statues, cf. Furtwangler, Dorn- ginally made for the Asklepieion at
auszieher, p. 91, note 44 (against Pergamon, in which case it was pre-
the reading Lyciscus langonem, which sumably transferred to Rome when
has lately again come into favour, see the Romans inherited the Pergamene
Friedlander's note to Martial, ix, 50). treasures by the will of Attalos II, 133
I.sufatorem: presumably holding B.C.
a censer suspended by chains; cf. 6. Pyromachi note on Niceratus
:

Mayer, op. cit. p. 322. above ; for an older namesake cf.

§ 80. 2. replicata cervice i. e. : §51-
in the scheme known from the Nike quadriga: possibly as a pendant to
sacrificing an ox on the balustrade of the groupby Nikeratos of Alkibiades
the Temple of Athena Nike, cf. Cecil and his mother sacrificing, § 88
Smith \nj. H. S. vii, 1886, pp. 375 fif. (Frankel, loc. cit.).

3. scripsit de sua arte Introd. : 7. Polycles : not identical with

p. xl. the artist of | 50, while his identity
Waucydes above § 50. His im-
: with the Polykles of § 52 ( = xxxvi, 35)
molans arietem has been identified, is uncertain.Nothing is known of his
but on purely fanciful reasons, with Hermaphrodite it cannot of course
;

the Phrixos burning the thigh of a ram have been the marble recumbent figure,
on the Akropolis, Paus. 1, 24, 2 (cf. extant in so many replicas ; it should
Furtwangler, Masterpieces, p. 231). perhaps be sought for among the
4. luctatore anhelante epigram- : standing types of the Hermaphrodite
 //. BRONZE STATUARY 67

craft of the servile character. Lykios too made a boy burning

perfumes.
By Menaichmos we have a calf on which a man is setting so
his knee as he bends neck back; Menaichmos also wrote
its

a book on his art. The fame of Naukydes rests on his Hermes,

his Sio-Ko^oXoi or Disk-thrower, a ram and his man sacrificing
that of \Naukeros on (made) the
his panting wrestler. Nikeratos
Asklepios and Hygieia now in the temple of Concord at Rome.
By Pyromachos we have a four-horse chariot driven by Alkibiades.
Polykks made a famous Hermaphrodite, Pyrrhos a Hygieia and
an Athena, \Phanis, the pupil of Lysippos, an iniBuovaa, or woman
sacrificing.

\Styppax of Cyprus is known by one statue only, the air\a-^x"(m- si

Tijf,
' '
or Roaster of Entrails. This was a slave of Perikles the ff ^
* Roaster
j-
of
Olympian ; he and blowing hard on the fire to
is roasting entrails Entrails:
kindle it till his cheeks swell. Seilanion cast a portrait of ApoUo-
doros, who was also a statuary, and among the most painstaking,
a severe critic of his own work, who often broke up a finished

(e. g. Berlin Cat. 193 ; see Herrmann 10. splanchnopte : the motive of
ap. Roscher, i, pp. 23245?.). Addenda. the statue and a probable copy are
8. Hygiam et Minervam : from fully discussed by M. Mayer, Jahrb.
the extant inscription ('ASiyroToi Tjj viii, 1893, p. 224 and pi. iv.
'ABijvaia rg "tyieia ||
IIvppos Ittoiijo'ci' Periolis Ol. vernula the story : is

'ASi^iaros /. G. B. 53) it appears that told fully, xxii, 44; in spite of dis-
Pliny made one work into two. crepancies it is apparently identical
The statue is mentioned Pans, i, 23, with the one narrated by Plutarch of
4 (without name of artist), Plutarch, the Athena Hygieia. The cause for
Per. 13, who says it was dedicated the dedication of a statue by so im-
by Perikles to commemorate the portant a personage as Perikles would
miraculous cure of a favourite work- naturally be eagerly sought for ; the
man employed on the Propylaia (see vicinity of the splanchnoptes to that of

note on vernula below). Wolters, Athena in her character of ' Healer

however, has shown on technical suggested a connexion between the
evidence {Ath. Mitth. xvi, 1891, p. two, and accounts for the legends told

153 £f.) that the statue must have been by Pliny and Plutarch. Cf. Wol-
dedicated at a period subsequent to the ters, loc. cit. ; Kuhnerdt, Stat. u. Ort,
commencement of the Peloponnesian p. 274.

war, and that Plutarch's narrative must 12. Apollodorum: the date proved
consequently be a mere invention. for Seilanion (§ 51)makes it impossible
I 81. 9. Styppax Cyprius : I see to identify the ApoUodoros either with

no reason for the doubts with regard the Sokratic philosopher (fl. b. c. 430-

to this name expressed by Loewy 360) or with the artist of /. G. B. 55

Untersuch. p. 30, against which see (in Pre-Eukleidan characters). /. G. B.

also Wolters, Ath. Mitth. xvi, 1891, 218 records a third of the name. For
p. 156, note I. the painter A. see xxxv, 60.

F a
 68 C. PLINII SECUNDI NAT. HIST. XXXIV
signa frangentem, dum satiari cupiditate artis non quit,
82 ideoque insanum cognominatum hoc in eo expressit, nee ;

hominem ex aere fecit, sed iracundiam, et Achillem nobilem,

item epistaten exercentem athletas, Strongylion Amazonem
quam ab excellentia crurum eucnemon appellant, ob id in 5

comitatu Neronis principis circumlatam. idem fecit puerum

quern amando Brutus Philippensis cognomine suo inlustravit.
83 Theodorus, qui labyrinthum fecit Sami, ipse se ex aere
fudit, praeter similitudinis mirabilem famam magna sup-
tilitate celebratus. dextra limam tenet, laeva tribus digitis lo

quadrigulam tenuit translatam Praeneste, tantae parvitatis

ut —mirum dictu—earn currumque et aurigam integeret alis

simul facta musca. Xenocrates Tisicratis discipulus, ut alii

Euthycratis, vicit utrosque copia signorum. et de sua

8. fecit Sami, ipse] editores ante Sillig; fecit, Sami ipse Detlefsen. 12.
mirum dictu] coni. Traube ; miraculo pictam Bamb. ; totam reliqui, DetUfsen.

§ 82. 2. nee hominem . . . sed have been erected shortly before that
irao. : O. Jahn {KunsturtheiU, p. play was produced in B. c. 414.
113) detected in these words a latent Amazonem we possibly have its :

epigram; the phraseology, however, copy in the charming equestrian sta-

which was originally confined to col- tuette in Naples (Friederichs-Wolters,
loquial language and used as a rule 1781 ; the opinion first expressed by
in a disparaging sense, had become Hoffman Overbeck's Flastik, ed. 4,
in
universal in Pliny's day; of. Quinct. i, p. 506, note 14). By representing
X, I, 112 non iam hominis nomen sed the Amazon on horseback, S. could
eloquentiae habeatur ; H. S. Jones, not only display her legs, but likewise
Class. Rev. 1893, p. 224, cf. Baehrens, find scope for his talent as a sculptor
Catullus, p. 608. See Addenda. of animals (Pans, ix, 30, t).

4. epistaten athletas votive

. . . : 6. oiroumlatam : above 1 48 ; we
statue, put up presumably by the may conclude from this fact that the
athletes of a gymnasium ; thus the Amazon was a statuette.
gymnasiarchs Menas and Metodoros 7- cognomine suo Bruti puer. :

and Pergamon receive statues

at Sestos Martial, ii, 77 ; ix, 50; xiv, 171.
for honourable discharge of their § 83. 8. Theodoras : his date
duties, likewise the Koo-^T/ri^s Nym- may be approximately determined by
phodotos at Athens receives a statue the fact that he worked for Kroisos
in the palaistra C. I. A. iii, 1104, see (B.C. 560-546), Herod, i, 51, and
Kuhnerdt, Statue u. Ort, 308 [the p. for Polykrates, Herod, iii, 41 (b. c.
words exercentem athletas were prob- 532?-52i), cf. xxxvii, 3. That there
ably taken from the descriptive was only one name has
artist of the
epigram on the statue. H. L. U.] — now been admitted even by Overbeck
Strongylion: /. G.B. 52 gives the {Flastik, 4th ed. 1893, p. 78).
inscr. belonging to his Sovpios ittttos labyrinthum . . . Sami : i. c. the
(Pans, i, 23, 8), which from the allu- Heraion, of which his father Rhoikos
sion in Aiisloph.'OpviSis, 1128, must (Herod, iii, 60) was the first archi-
 //. BRONZE STATUARY 6g

being unable to reach the ideal he aimed at; from this ,'
statue,
he was called 'the madman.' This characteristic Seilanion ren- 82
dered, and made his bronze not a portrait of an individual, but
a figure of "Vexation itself. He also made a famous Achilles,
and a trainer exercising his athletes. Strongylion made the Ama-
zon surnamed the evKi/rjfins from the beauty of her legs ; it was
because of this special feature that the Emperor Nero carried
the statue about in his train. He also made the boy which
Brutus of Philippi loved, and made illustrious by his name.
Theodoras, the maker of the labyrinth at Samos, also cast a portrait 83
of himself in bronze, famed as a wondrous likeness, and also
celebrated for the extreme delicacy of the workmanship. The
right hand holds a file, while three fingers of the left hand
support a tiny team of four horses, which is now at Praeneste, Tiny
so small that the team, marvellous to relate, with chariot sxiA '^""-"^ ""^
team by
charioteer could be covered by the wings of a fly which the artist Theodoras.

made to accompany it. Xenokrates was a pupil of Teisikrates, or,

according to some authorities, of Euthykrates ; he outdid both in

tect ; cf. xxxvi, 90, where the purely 11. Praeneste : where the cele-
mythical labyrinthus Lemnius is a brated temple oiForiuna Primigenia,
mist.ake of Pliny for lab. Samius like so many of the temples in Rome
(Urlichs, Anfange, 1871, p. 3, cf. (cf. Friedlander, Darstellmtgen, ii,

Klein in Arch. Ep. Mitth. ix, 1885, pp. 154 ff.), must have contained all
p. 184) of Rhoikos and Theodores
; sorts of curiosities (see R. Peter ap.
at least we know that they were itp- Roscher, i, 1545).
digenae not of Lemros bat of Samos 12. mirum dlotu: xviii, 160, so
i^aiiiot. Pans, viii, 14, 8 ; 'Por«os facile diciu, xxviii, 20 ; rarum
fmx<iipios, sc. of Samos, Herod, loc. cit. didu, xiv, 132 ; incredibile diciu,
ipse se : cf. the portrait of the XXXV, 88.
Kretan Cheirisophos, presumably by earn i. e. the team proper as dis-
:

himself, ne.xt to his gilt statue of tinct from the currus and the auriga,
Apollo at Tegea, Paus. viii, 53, 7. likewise in xxxvi, 36 quadriga cur-
10. laeva quadrigulam it
. . . : rusque.
is generally supposed that the little 13. Xenocrates : his identity with
chariot was engraved on the base of the Xenokrates of Athens, son of
a scarab (see e. g. the scarab, Brit. Ergophilos of /. G. B. 135 a and b
Mus. Cat. of Gems, pi. D, 254); (from Oropos), of /. G. ^. 135 c (from
Benndorf, Zts.fUr Oesterr. Gymnasien, Elateia), and oi 'E(j>i]fi. &px<ii-oK. 1892,
1873, p. 406. Theodores was a 52 (from Oropos), though usually
famous gem-graver; yet the extant accepted, is nothing less than proven.
marvels of iuicpoTfx>'ia. accomplished See Introd. p. xx, note 3.
in the goldsmith's art show that the exe- Tisioratis /. G. B. 120, from
:

cution in the round of a microscopic Oropos.

chariot was no technical impossibility 14. Euthyoratis : above § 67
see note on Mymercides, xxxvi, 43. [from the fact that this and the two
 70 C. PLINII SECUNDI NAT. HIST. XXXIV
84 arte composuit volumina. plures artifices fecere Attali et
Eumenis adversus Gallos proelia, Isigonus, Pyromachus,
Stratonicus, Antigonus qui volumina condidit de sua arte.
Boethi, quamquam argento melioris, infans amplexando
anserem strangulat. atque ex omnibus quae rettuli clarissima 5

quaeque iam sunt dicata a Vespasiano principe in templo

Pacis aliisque eius operibus, violentia Neronis in urbem con-
85 vecta et in sellariis domus aureae disposita. praeterea sunt
aequalitate celebrati sed nullis operum suorum
artifices,

praecipui, Ariston qui etargentum caelare solitus est, Cal- 10

lides, Ctesias, Cantharus Sicyonius, Dionysodorus Critiae

discipulus, Deliades, Euphorion, Eunicus et Hecataeus

argenti caelatores, Lesbocles, Prodorus, Pythodicus, Poly-
gnotus idem pictor e nobilissimis, item e caelatoribus
86 Stratonicus, Scymnus Critiae discipulus. nunc percensebo 15

4.amplexando] Trauhe; sex anno Bamh. (sex annis e «??-.) eximiae Voss. ;

eximie Rice, Detlefsen annosum coni. Bvecheler in Herondas, p. 35

;

vi annosnm coni. R. Meister in Mimiamben des Herondas, p. 708. 1 1 Diony- .

sius, Diodorus Detlefsen Diodorus Bamb. ; dionysiodorus Rice, Voss.

;

preceding names contain the common Pyromaclius : above § 80.

element -KpaTrjs itwould appear that 3. volumina ; Introd. p. xxxvi.
the bearers all belonged to the same 4. Boethi of Chalkedon (Paus.
;

family, cf. Fick, Griech. Personen- v, 17, 4, where Schnbart, however,

namen, p. xi. —
H. L. U.]. reads Kapx';^''''"") ; identical with the
1. volumina Introd. p.
: xvi. In the
silver-chaser of xxxiii, 155.
I 84. Attali : i. e. Attalos I, B. C. Heraion of Olympia Pausanias saw
241-197. the gilt statue of a boy by him.
2. Eumenis:!. e. II, B.C. 197-159. quamquam elliptical, i. e. 'although
Gallos : Atialus cos rex saepefiAdit more renowned as a silver chaser, yet
fugavitque, Liv. xxxviii, 17, 15, the I may mention . .
.' The artist of
dates however are obscure (see Loewy the portrait of Antiochos Epiphanes
on /. G. B. 154, pp. 117 f.); the (/. G. B. 210) belongs to a later
other victories commemorated in the period, while a third Boethos, belong-
Pergamene inscriptions are those of ing to the first quarter of the first

Attalos I over Antiochos Hierax in century B.C., is known from Bull. d.

228 B. c. Corr. Hell, xi, p. 263.
Isigonus : neither his name nor infans preserved in a number of
:

those of Stratonikos (below § 90) or replicas,Munich, Glypt. 140 Capi- ;

Antigonos, have turned up among tol, Helbig, Class. Ant. 518. The
the Fergamene inscriptions ; Michaelis same subject (without the artist's
(yiiAri.viii, 1893, p. 131) accordingly name) mentioned Herond. iv, 31
is
proposes to alter the Isigonus of Pliny t\v xrpiaXiivtKo. ws to vatSiov irviyet |

to Efigonus, but on grounds which rpd -rSiv troZSiv fovv tt ri nij XiSos
are insufficient. roipyoy |
epus AoX^ffec (ed. O. Cru-
 //. BRONZE STATUARY ^^

the number of statues that he produced, and he also wrote books

on his art.
The battles of Attalos and Eumenes against the Gauls were 84
'''"'''^
represented by several artists, ^Isimnos, Pyromachos, Stratonikos
and Antigonos who also wrote books on his art. rating the
Bo'ethos, though greater as a worker in silver, made a child '"Iff,*" "^j
hugging a goose till he throttles it. Eumenes.
*'"''^''^
The best of all the works I have mentioned have now been
dedicated at Rome by the emperor Vespasian in the temple of
Peace and in his other galleries, Nero having first brought them
by the strong hand to Rome, and placed them in the apartments
of the Golden House.
I add a list of artists whose works are of equal excellence, 85

though no single one is of supreme merit. Such are Ariston, who !^^"j "'

also worked in silver, ^Kallides, \Ktesias, Kantharos of Sikyon, rank.

Dionysodoros the pupil of Kritios, \Deliades, \Euphorion, Eunikos
and Hekataios, the silver chasers ; \Lesbokles, iFrodoros, ^Pytho-
dikos, and Polygnotos, who was also among the most famous
painters. Others who were also silver chasers were Stratonikos
and \Skymnos the pupil of Kritios.

sins, who suggests the basis alone to 7. violentia Iferonis ; for hatred
have been of marble cf. Anth.Pal. — of Nero, ef. above § 45, xxxv, 51,
ix, 719 —
and accordingly assumes 120. Introd. p. xcii.
identity with the Plinian group, cf. §85. 9. aequalitate : i.e. of merit,
Untersuchungen zur Mimiamhen des Fnrtwangler, Plinius, p. 11.
Herondas 1892, p. 82). Identity 10. Ariston: xxxiii, 156; a painter

likewise assumed by Buecheler and of the name, xxxv, iio-lii; cf. on

Meister (above text notes). The /. G. B. 275 a.

action of the child, who is really Callides : a painter of the name

squeezing the goose in his embrace, in Lucian, Dial. Meretr. viii, 3, cf.

is exactly described by the word am- Brunn, K. G. ii, p. 311.

flexando, as now restored from the 11. Cantharus : son of Alexis,
reading of Cod. Bamb. Addenda. pupil of Eutychides (above § 78),
5. ex omnibus . . . clarissima Pans, vi, 3, 6; 17, 7.

rhetorical ilattery intended to please Dionysodoros : an artist of the

Pliny's patron Vespasian, cf. xxxvi^ name, /. G. B. 243 (from Delos, B. C.

102 ; so too Josephus, Bell.Jud. vii, no) ; a painter, xxxv, 146.

5, 7 (Niese, vol. vi, p. 591) says: Critiae: perhaps identical with the
ulana . €is
. . iKiivav rbv viib (sc. Kritios in § 49.
Tempi. Pac) avv/ixBl "al KartriB-q, Si' 12. Eunious et Heo. xxxiii, 156. :

Siv rtjv 6iav dvOpanrot Trp6Tepoi/ irepl 13. Polygnotus: xxxv, 58; known
iraaav tir\avSivTo rtjv oiicov^ivriv. The as a sculptor only from Pliny.
templum Pads was ded. A. D. 75, after 15. Stratonicus : presumably iden-
the conquest of Judaea; fall literature tical with the Str. of § 84 and of
Gilbert, Pom. iii, p. 135, note 3. § 90.
 72 C. PLINII SECUNDI NAT. HIST. XXXIV
eos qui eiusdem generis opera fecerunt, ut Apollodorus,
Androbulus, Asclepiodorus, Aleuas philosophos, Apellas
et adornantes se feminas, Antignotus et luctatores, perixyo-
menum tyrannicidasque supra dictos, Antimachus, Athe-
nodorus feminas nobiles, Aristodemus et luctatores bigasque 5

cum auriga, philosophos, anus, Seleucum regem. habet

87 gratiam suam huius quoque doryphorus. Cephisodoti
duo fuere : prioris est Mercurius Liberum patrem in infantia

nutriens, fecit et contionantem manu elata, persona in

incerto est. sequens philosophos fecit. Colotes qui cum 10

Phidia lovem Olympium fecerat philosophos, item Cleon et

Cenchramis et Callicles et Cepis, Chalcosthenes et comoedos

et athletas, Daippus perixyomenon, Daiphron et Damo-
§ 86. I. qui eiusdem generis : would fall under the heading of
for the practice of classifying works philosopki.
of art according to the artistic mo- 6. anus : votive portraits of priest-
tive cf. Furtwangler, Dornauszieher, esses, such as that of Lysimache, above
pp. 20 f. § 76. Yxat-m'ixi^tt, Dornauszieher, p.26.
Apollodorus: above § 81. Seleucum regem: above § 73.
2. Asclepiodorus a painter of the : 7. quoque [i. e. as well
: as the
name, xxxv, 107. more celebrated Doryphoros of Poly-
philosophos Furtwangler, /?«?-»- : kleitos in § 55. H. L. U.]. —
auszieher, pp. 24 f., has pointed ont I 87. Cephisodoti duo: (a) the
that under this rubric must be under- artist of the Eirene, Pans, ix, 16,
stood not only philosophers in a re- 1, possibly father or brother of the
stricted sense, but in general portraits great Praxiteles (cf. note on § 50) ; ifi)

of distinguished personages. a son of Praxiteles, xxxvi, 24.

Apellas son of Kallikles, makes
: 8. Mercurius . . . nutriens : the
for Olympia the chariot of Kyniska motive is identical with that of the
(/. G. B. 99 = Pans, vi, i, 6), sister of Praxitelean Hermes. Addenda.
Agesilaos (died B. c. j6o) of Sparta. 9. manu elata : the raised hand
Cf. note on Callicles in § 87. Add. not being an action of Greek oratory
adornantes se
3. cf. the pseli- ; (where even to allow the hand to
umene in § 70. protrudemuch from the cloak was
Antignotus an artist of the name,
: thought unseemly, Aischines c. Tim.
/. G. B. 314-316 (Augustan). 25), it is probable that the statue be-
4. supra dictos descriptive of : longed to the class adorantes, and
the actual personages portrayed ; un- that its gesture was misinterpreted by
necessary difficulty has been caused a Roman writer as being the familiar
(cf. Loewy on /. G. B. 314) by as- manus elata of the Roman orators
suming that they referred to the group (Milchhbffer, Arch. Studien H. Brunn
mentioned in § 70. dargeb. 1892, p. 39). A recent con-
Athenodorus xxxvi, 37. : jecture manu velata as the equivalent
5. Aristodemus according to Ta- : of the ivTbs TTjv x^V*^ ex^^ of Aisch.
9 (ed. Schwartz), makes a
tian, p. 36, loc. cit. has met with little favour, c£

statue of Aisop, i.e. a work which S. Reinach in Chron. d' Orient, 1893,
 //. BRONZE STATUARY 73

I will now enumerate those who made statues of the same 86

class, as ApoUodoros, \Androboulos, Askkpiodoros and who t^/i?«fl^, u"'^^.
made philosophers ; Apellas, who also made women adorning statues of
™'"^
themselves, Anttgnotos, who also made wrestlers, a nepi^vonevos or "

athlete scraping himself, and statues of the tyrant-slayers whom

I have mentioned, and \Antimachos and Atkenodoros, who made
statues of renowned women. Aristodemos also made wrestlers, two-
horse chariots with charioteer, and figures of philosophers, of old
women, and of king Seleukos ; his Spear-bearer too has a charm
of its own. There were two artists of the name of Kephisodotos ; 87
by the first we have a Hermes nursing the infant Dionysos. He
also made a statue of a man haranguing with uplifted hand;
the person represented is not known. The younger Kephisodotos
made statues and so did Kolotes, who had
of philosophers,
worked with Pheidias on his Olympian Zeus, Kkon, Kenchramos,
Kallikles, and '\ Kepis ; Chalkosthenes also made statues of comic
actors and athletes. Daippos made a iref)t^v6fievos or athlete scraping
himself, \ Daiphron, Damokritos, and -[Daimon philosophers

p-9; W. Gurlitt in Berl. Phil. Woch. of the lovely bronze head of the boy-
1895, p. 1230. pugilist, Munich, Glypt. 302, and of the
persona in ineerto \\. e. the in- : original of the basalt statue of an-

scription was effaced, or no longer other pugilist in the Terme Mus. {ib.

extant. —
H. L. U.] So Pausanias, vi, pi. I).

15, 7, speaks of the statue of an un- Chalcostlienes : apparently an

known individual as av^p otrris 5^. error for Chaecosthenes (Ka'iKoffdivrjs),

10. Colotes: xxxv, 54. brother of Dies and son of ApoUonides,

11. Cleon : of Sikyon, pupil of /. G.B. 113-117, 220, see note on
Antiphanes, himself pupil of Poly- xxxv, 155. In connexion with the
1 7, 4, where a bronze
kleitos, Pans, v, votive-statues of comoedi mentioned
Aphrodite by him is mentioned ib. ; here, it is interesting to note that

21,3 (two bronze Zanes, /. G. B. 95, /. G. B. 220 is from the theatre of

96) ; the remaining four statues by
Dionysos Athens
at cf. A^Kriov, ;

him (vi,1,5; 3, 10 ; 8, 5 ; 9, 2 ; 10, 1891, p. 84, Like Epigonos (| 88)

1.

9) all belong to the class athletae. he is known only from Pliny and the
For his school cf. Furtwangler, Master- inscriptions.

pieces, p. 278. 13. Daippus : above § 51 ; for

12. Cenohramis: /. G. B. 70, 71 athlete statues by him cf. Paus. vi, 12,

(both from Athens), where he is named 6; 16, 5.

with Pdlymnestos (/. G.B. 72). Add. Damoeritus : From Paus. vi, 3, 5

Callioles son of Theokosmos of

: we learn that he was a Sikyonian,
Megara, Paus. vi, 7, I (where his a pupil of Pison of Kalaureia (Paus.
statue of the illustrious TTepioSovixTjs X, 9, 8), and fifth in school descent

Diagoras of Rhodes is mentioned) from the Attic artist Kritios. His

father of Apellas (above § 86). F. identity with the ArjiiSicpiTos oil. G.B.
Hauser {Horn. Mittheil. x, 1895, pp. 484 and Diogenes Laertios, ix, 49 is

97-119) would see in him the artist doubtful.

 74 C. PLINII SECUNDI NAT. HIST. XXXIV

88 critus et Daemon philosophos. Epigonus omnia fere prae-

dicta imitatus praecessit in tubicine et matri interfectae
infante miserabiliter blandiente. Eubuli mulier admirans
laudatur, Eubulidis digitis computans. Micon athletis specta-

tur, Menogenes quadrigis. nee minus Niceratus omnia quae 5

ceteri adgressus repraesentavit Alcibiaden lampadumque

89 accensu matrem eius Demaraten sacrificantem. Tisicratis
bigae Piston mulierem inposuit, idem fecit Martem et Mer-
curium qui sunt in Concordiae templo Romae. Perillum
nemo laudet saeviorem Phalaride tyranno, cui taurum fecit lo
mugitus hominis poUicitus igni subdito, et primus expertus
cruciatum eum iustiore saevitia. hue a simulaeris deorum

II. et] Bamb. ; ex reliqui ; exprimere Deilefsen.

§ 88. I. Epigonus : known from Gaulish mother and her child, and
a series of Pergamene inscriptions. belonged to the same series as the
Frankel, Inschriften aus Pergamon, ' Dying Gaul and the so-called
'

12; 21-28; 29; 31 ( = /. G.B. 157); 'Arrius and Pacta' of the Villa Ludo-
32 (= /. G. B. 157 a). The great visi, Helbig, Class. Ant. 884. Add.
bathron to which 21-28 belongs com- 3. Hubuli his name has been
:

memorates the close of the war in B. c. suggested in /. G. B. 235. For his

228, against Antiochos and the Galatai. mulier admirans cf. above § 78.
omnia fere : rhetorical; cf. cla- 4. Eubulidis his name alter-
:

rissima quaeque in § 84 ; omnibusfere nates with that of Eucheiros (below

quae fecit, xxxvi, 13. § 91) on a series of inscriptions
2. tubicine since Epigonos
: (/. G. B. 544) belonging
223-229,
worked for the Pergamene kings, it apparently to one family of artists;
has been suggested that his tubicen dates uncertain.
represented a Gaul with his war digitija computans : [the gesture
trumpet such as the famous 'dying which is expressive of pondering or
Gaul of the Capitol (Helbig, Class.
' meditation might be given to any
Ant. p. 398, where see literature). number of portraits oifhilosophi ; cf.
[The statue, however, may, as Winckel- Lucian, Timon, 122, avveaTrafcibs robs
mann suggested, have been simply the SaKTv\ovs irpos rb eOos rwv \oyifffjL&y ;

votive-portrait of the winner in the Plin. £:p. ii, 20, 3 : composuit vultum,
contest of heralds, such as that of intendit oculos, movet labra, agitat
Archias of Hybla at Delphoi, cf. Pol- digitos, computat. This observation,
lux, iv, 92, Preger, Inscr. 143, or that coupled with the fact that, had the
of Phorystas at Olympia, /. G. B. computans been the portrait of
digitis
J 19. For it tubicen by the painter a celebrated man, the name would
Antidotes see xxxv, 130.— H. L. U.] not have been forgotten, disposes of
Add. Milchhoffer's theory {Arch. Studien
matri interfectae : for the mo- H. Brunn dargebr. pp. 37 ff.) that
tive cf. xxxv, 98; S. Reinach {Rev. the personage represented was Chrys-
des £tudes Grecques, 1894, p. 41 ff.) ippos. — H. L. U.]
suggests that the group was of a Micon : identical with the painter,
 //. BRONZE STATUARY 75

Epigonos produced examples of almost all the subjects I have 88

mentioned, and surpassed them in his trumpeter and his infant
J^'^^ ^„^
piteously caressing its dead mother. \Euboulos is praised for child by
his woman in amazement, and Euboulides for his man reckoning ^P^S""^'-

on his fingers. Mikon's athletes are admired, and the four-horse

chariots of Menogenes. Nikeratos too attempted the same sub-
jects as these artists, also made statues of Alkibiades and
and
his mother Demarate sacrificing by torchlight. Piston made a 89
woman, to be placed in a two-horse chariot by Teisikrates, also
the statues of Ares and of Hermes which stand in the temple of
Concord at Rome. Perillos it is impossible to praise he showed Bull of :

Phalaris.
a cruelty greater than that of the tyrant Phalaris, for whom he
made a bull, promising that if a fire were lighted under it the
cries of the man
would sound like the animal's bellowing,
inside
a torture which cruelty for once righteous made him the first to
suffer. From representations of gods' and men he had dragged
XXXV, 59. The fact that he made 564 is now generally accepted as the
statues of athletes has beau confirmed date of his Tupavm, Bentley, Diss, on
by /. G. B. 41, from the statue of the Epistles of Phalaris (ed. 1699),
the Kallias (Ol. 77 =
TreptoSoviitris pp. 27 ff. ; Freeman, Sicily, ii, pp.
B. c. and /. G. B. 42.
472) ; 458 f.

5. Uioeratus above § 80, where

: taurum fecit : the earliest men-
see note on his Alkibiades. tion of the brazen bull is by Pindar,
6. lampadum acoensu : i. e. she Pyth. i, 184 ; its mechanism is fully

held a torch, possibly in each hand described by Polybios, xii, 25. The
the word accensu, however, makes bull was reputedhave been taken to
me suspect a latent epigram, Introd. to Carthage on the sack of Akra-
p. xliv, note 2. gas by the Carthaginians, B. c. 403
7. Demaraten her name was ; it was brought back and restored
however AeivoiiixV' Plat. ^Ic. 105, to the Carthaginians by the Younger
d, &c. [The name Demarate may Scipio, Cic. Verr. II, iv, 34, § 73.
have crept into Pliny's authority See Freeman, op. cit. Appendix,
through an error in transcribing the vii, where the story of the bull is
inscription on the group. H. L. U.] — fully discussed. It early became
§ 89. Tisioratis above § 83 : a communis of
locus rhetoric (cf.

malierem inposuit, cf. § 71 on Kalkmann in Rhein. Mus. xlii,

Xalamis and the Elder Praxiteles 1887, pp. 513 ff.), which accounts
the mulier vifas possibly a Nike. for the high colonring of Pliny's
9. Perilliim : the Latin form. He language. Introd. p. xciii.
also appears as Perilaos in Lucian, II. mugitus hominis : Mugiet,
according to whom {Phal. i, 11) he et veri vox erit ilia boms, Ovid, Trist.
was a native of Akragas for the late ; iii, II, 48.
notion that he was an Athenian, see primus expertus : cf. Diodoros,
Freeman, Bist. of Sicily, ii, p. 75, ix, 19; Ovid, loc. cit.; and Ars Amat.
note 2. i, 653 ; Lucian, Phalaris, i, 12.
10. FhaJaride : vli, 200; B.C. 570-
 76 C. PLINII SECUNDI NAT. HIST. XXXIV
hominumque devocaverat humanissimam artem. ideo tot
conditores eius laboraverant ut ex ea tormenta fierent!
itaque una de causa servantur opera eius, ut quisquis ilia
90 videat oderit manus. Sthennis Cererem, lovem, Minervam
fecit, qui sunt Romae in Concordiae templo, idem flentes 5
matronas et adorantes sacrificantesque. Simon canem et
sagittarium fecit, Stratonicus caelator ille philosophos,
91 Scopas *uterque*, athletas 3.utem et armatos et venatores

sacrificantesque Baton, Euchir, Glaucides, Heliodorus,

Hicanus, *Iophon* Lyson, Leon, Menodorus,Myagrus,Poly- 10

crates, Polyidus, Pythocritus, Protogenes idem pictor e

clarissimis, ut dicemus, Patrocles, Pollis, Posidonius qui
et argentum caelavit nobiliter, natione Ephesius, Pericly-
menus, Philon, Symenus, Timotheus, Theomnestus, Ti-
marchides, Timon, Tisias, Thrason. ex omnibus autem 15

8. scopas] codd. ; copas Gerhard, Detlefsen. 10. lophon] Urlichs in

Chresi. p. 91 ; olophon Bamb. ; lophon reliqui.

§ 90. 4. Sthennis above §51. : tion of his double Skopas (above note
5. flentes matronas grave por- : on§49, 1. 13). My own view is that the
trait statues, cf. above on § 70. uterque is a very ancient corruption,
6. adorantes sacrificantesque : and conceals the name of the work of
§§ 73> 78. On these rubrics see
<^f' art made by Skopas. It has also been
the remarks of Furtwangler, Dom- suggested that scopas is the ace. pi.
auszieher, pp. 22 ff. either of <r/nu^ (Satyric dancers, see
Simon : his identity with the Aigi- Urlichs's note in Chrest. p. 331) or
netan artist of the name (Paus. v, ff/tcJiras (Satyr on the •
look-out), in
27, 2),employed with Dionysios of which case the uterque would refer
Argos on the Olympic votive-offer- back to Simon and Stratonikos.
ings of Phormis of Mainalos, is SKOrA* is inscribed above a Satyr
uncertain. on a vase with the Apotheosis of
canem et sagittarium : i. e. a Herakles (Munich, Jahn Cat. 384 =
votive-portrait of a Kretan or Scythian Mon.d. Inst, iv, pi. 41, Ann. xi, Tav.
bowman with his dog ; cf Furtwangler, d'Agg. O); but the fact that the
op. cit., p. 93. next Satyr is inscribed TBPI2 shows
7. Stratonicus: xxxiii, 156; above that we have here no generic term,
§§ 84, 85. but merely an epithet applied to one
8. Scopas uterque : although the particular Satyr (cf. the diroaKowevax'
MSS. are unanimous, no satisfactory of Antiphilos in xxxv, 138). Finally
sense can be got out of the reading. besides the copas ( = castanet dancers),
Skopas, as the name of the artist, is of Gerhard, Urlichs in Pergamen.
q^te in place in the alphabetical Inschriften, p. 23, has suggested
enumeration, but we cannot follow scyphos. See Addenda.
Klein {Arch. Ep. Mitth. iv, p. 22 ff.) § 91. athletas : for thisand the
inassuming a lacuna after uterque, or following rubrics cf. adorantes sacri-
in seeing in the uterque a confirma- ficantesque above.
 //. BRONZE STATUARY 77

down the most humanizing of arts to this level, and the early
masters had only laboured to the end that instruments of torture
should be created by its means. The works of Perillos, in con-
sequence, are preserved only that whoever sees them may loathe
the hand that made them. Sthennis made statues of Demeter, 90
Zeus and Athena, which are at Rome in the temple of Concord
also matrons weeping, praying, or sacrificing. Simon made a dog
and an archer, Stratonikos, known also as a silver chaser, made
statues of philosophers, and Skopas . . .

We have statues of athletes, armed men, hunters, and men 91

sacrificing, by Baton, Eucheir, iGlaukides, Heliodoros, \Hikanos, ^^'"^^j

\Iophon, Lyson, Leon, Menodoros, Myagros, Polykrates, ^Polyeidos, statues of

"tfi-l^*"-
Pythokritos, Protogenes, who was also, as will be said later on,

a painter of the highest renown, Patrokks, •\Pollis, Poseidonios, an

Ephesian by nationality, who is also famous for his silver chasing,

Periklymenos, Phi/on, Symenos, Timotheos, Ttieomnestos, Timar-

chides, Timon, iTeisias, and Thrason.

Baton : above § 73. while/. G. B. 176, from the statue ol

EuoUr : note on Eubulidis above an Olympic winner, belongs to the

§ 88. class athletae.

Heliodorus : xxxvi, 35. 1 2. Patrooles : above § 50.

10. lophon: Vatolophonal Bamh. Posidonius xxxiii, 156. ;

points to it longer name. Loewy, 13. Periolymenus Tatian, : p. 35,

Untersuch. p. 39, note 31 suggests 28 (ed. Schvrartz), ti /ioi Sid toj/

Herophon (/. G. B. 380, from a XitfuicKvfiivov -jivawv (Eutychis Plin.

basis found at Olympial. vii, 34), Q-rnp kfcvrjffe rpidKovra irdida?,

Iiyson he made a statue of De-

:
cbs 0aVftaffT&v ^etaOe t5 Karavoeiy
mos whicli stood in the Bouleuterion TToiijfia ; Brunn, JC G. i, p. 473.
at Athens, Pans, i, 3, 5. 14. Philon : Tatian, p. 36, 17
Iieou: perhaps =/. G. B. 148, (ed. Schwartz), mentions a statue of

Menodoros an : artist of the name Hephaistion (cf. above § 64) by

made a copy of the Eros of Praxiteles him ; he vfould thus belong to the age
at Thespiai, Paus. ix, 27, 4. of Alexander.
Myagrus : of Phokaia, Vitrav. iii, Symenus : /. G. B. 84 (latter half
Praef. 2. of sixth century).
Polycrates : for a doubtful in- Timotheus xxxvi, : 35.
scription with this name cf. /. G. B* Theomnestus a : painter of the

482. name, xxxv, 107.

1 1. Pythooritus : son of Timo- Tiraarchides : xxxvi, 35.

charis of Rhodes, /. G. B. 174-176, 15. Timon: probably = /. G. B.

Ath. Mitth. xvi, 1891, pp. 120 f. = 234 (from Athens).
Jahrb. ix, 1 894, p. 41 . It is interesting Thrason : a figure of Hekate and
to note that /. G. B. 1 74 belonged to a fountain, a Penelope and Eurykleia
the statue of a priest, i. e. to the class (in a group ?) are mentioned, Strabo,

sacrificantes (Brunn, K. G. i, p. 461); xiv, p. 641 ; cf. Brunn, Jv. G.i, p. 421.
 78 C. PLINII SECUNDI NAT. HIST. XXXIV

92 maxime cognomine insignis est Callimachus semper calum-

niator sui, nee finem habentis diligentiae,ob id catatexitechnus
appellatus, memorabili exemplo adhibendi et curae modum.

huius sunt saltantes Lacaenae, emendatum opus sed in quo

gratiam omnem
abstulerit. hunc quidem et
diligentia s

pictorem fuisse tradunt. non aere captus, nee arte, unam

A.tT.c. 698. tantum Zenonis statuam Cypria expeditione non vendidit

Cato, sed quia philosophi erat, ut obiter hoc quoque noscatur

93 tarn inane exemplum. in mentione statuarum est et

una non praetereunda, quamquam auctoris incerti, iuxta 10

rostra, Herculis tunicati, sola eo habitu Romae, torva facie,

sentiensque suprema tunicae. in hac tres sunt tituli : L.

A.u.c. 691. LucuUi imperatoris de manubiis, alter: pupillum Luculli
filium ex S. C. dedicasse, tertius T. Septimium Sabinum :

aed. cur. ex privato in publicum restituisse. tot certaminum 15

tantaeque dignationis simulacrum id fuit.

12. sentientique re/«y«8. tnnica r«/8^««.

§ 92. I. CaUimachus : his date 4. saltantes Xiacaenae : Furt-

can be approximately fixed at the wangler {Afasterpieces, p. 438 ; id. fig.

close of the fifth century, from the fact 179) inclines to recognize the type in
that he is credited (Vitr. iv, i, 10) the dancing girls wearing the Kala-
with the '
invention,' i. e. introduction thiskos so common on later reliefs

into Greece, of the Corinthian capital, and gems.

which Skopas (Paus. viii, 45, 5) em- 5. gratiam . . . abstulerit : this
ployed in the temple at Tegea (Ol. judgement flatly contradicts the words
96 = 3.0.396). Addenda. ofVitruviusquotedabove(cf. also Paus.
calumniator sui cf. Quinct. x, : loc.cit.) ; aninterestingevidenceofdiver-
I, 115 invent qui Calvum prae-
: gence of opinion among ancient critics.
ferrent omnibus, inveni qui Ciceroni et pictorem fuisse : cf. of Pytha-
crederent, eum nimia contra se ca- goras, § of Fheidias, xxxv, 54.
60 ;

lumnia verutn sanguinem perdidisse. 7. Zenonis he was boin at Kition.

:

2. catatexitechnus Fans, i, 26, : His features are known from the bust
7 ; Vitmv. ioc. cit. ; Call, qui propter at Naples, Schuster, Ueier die erhal-
elegantiam ac subtilitatem artis tenen Porirdts der Gr. Philosophen,
tnarfnoreae ab Atheniensibus catatexi- pi. iv, I, I a.
technus fuerat nominatus ; Brunn, Cypria expeditione : vii, 113,
K. G. i, p. 254 aptly compares the when Cato went to Cyprus as Quaestor
use of KaTaT-fjiceLV in Dionys. JI. de vi cum iure practorio to confiscate the
Dem. 51 : Ou 7a/> 5^ rot, irXao-rat y^v property of Ptolemy, which was put
KoX ypatp€ts iv iKr^ <p6apT^ xeipwv fit- up to auction.
GTOvias ivZcitcvv p.ivot roaovTov^ elff- §93. 10. auctoris incerti this :

<[)€povTai iTovoiis, uffre koX (p\4l3ta Kal suffices to discreditthe proposed

iTTiKa mt x^'ous tcai rd tovtois Sftoia identification of this statue with the
els anpov t^epya^eaSai «al HaraTrjKHv Herakles of Polykles, mentioned Cic.
cis ravra ras tcxvols. ad Alt. vi, I, 17.
 //. BRONZE STATUARY 79

Of all artists, however, Kallimachos has received the most dis- 02

tinctive name. He was always too severe a critic of himself, and -^a^'^^*-
incessantly laborious; from this he received the surname oi'^mggkr'
KaTa-nj^iTexvos, Or the Niggler —a noteworthy warning that even
diligence has its limits. By him we have a group of Spartan
girls dancing, a work of faultless technique, which has, however,
lost all charm through over elaboration. Some authorities say
that Kallimachos was also a painter.
The statue of Zeno was the only one which Cato did not sell 56 b. c.

when commissioner in Cyprus this, however, was not because ;

he valued the bronze or the workmanship, but because the statue

was that of a philosopher, a trivial incident, yet not unworthy of

passing notice.
In speaking of statues there is one which ought not to be 93
-^'"'«*''«^
omitted, although the artist is unknown. It stands close to the
.
wearing
K.ostra, and represents Herakles wearmg the tunic ; it is the only the tunic.
one of him in Rome in that dress: the wild expression of the >,^;

face shows that he is feeling the last agonies of the tunic. There J^'
are three inscriptions upon it : one states that it is part of the
plunder taken by Lucius Lucullus, the second that the son of 63 b. c.

LucuUus, while still a minor, dedicated it in pursuance of a de-

cree of the Senate, the third that Titus Septimius Sabinus when
curule aedile made it once more a public monument. These
inscriptions show the rivalry occasioned by the statue, and the
value set on it.

II. torva facie: the description 12. tres sunt tituli showing that :

shows clearly to what school the the statue had changed place three
Herakles belonged ; the hero trjdng times ; where it stood on its first
to extricate himself from the burning dedication is unknown. The son of
robe Laokoon
irresistibly recalls the Lucullus re-dedicated it near the (old)
tearing away the snakes. That the Rostra. Then, owing to the numerous
tunica was the fatal robe sent by changes which took place in the Fornm
Deianeira is a suggestion first made itwas removed and fell into private
by Tumebus, Advers. lib. xvi, 487. hands; the restoration by T. Sep-
Though the reading sentiensque timius Sab. was in virtue of his office
supremo, tuniccie is not absolutely as aedile, by which he had charge of
beyond suspicion, I see no reason for public buildings and statues.
following Peter [ap. Roscher, i, 2941) 13. de manubiis on the occasion
:

in denying (cf. Urlichs in Chrest. of his triumph B. c. 63.

p. 333) the allusion to the poisoned pupiUum he was the ward of

:

tunic. The subject seems to have been Cato {Cic.deFin. iii, 2) and Cicero
represented in painting by Aristeides {Att. xiii, 6).

(Polybios, ap. Strabo, viii, p. 381).

 8o C. PLINII SECUNDl NAT. HIST. XXXIV
14,0 Aristonidas artifex cum exprimere vellet Athamantis
furorem Learcho filio praecipitato residentem paenitentia,
aes ferrumque miscuit ut robigine eius per nitorem aeris
relucente exprimeretur verecundiae rubor, hoc signum
141 exstat hodie Rhodi. est in eadem urbe et ferreus Hercules, 5

quern fecit Alcon laborum dei patientia inductus. vide-

mus et Romae scyphos e ferro dicatos in templo Martis
Ultoris.

Aristonidas xxxv, 146, where

I. : Athamantis furorem : recalls snch
his son Mnasitimos is mentioned subjects as Herakles grieving for his
among the painters KOK j]j»z»3z7«j / cf. madness, xxxv, 141. The Athamas
/. G. B. 197 (inscr. more completely was perhaps inspired by the Ino of
given by Hiller von Gaertringen, Euripides, where the murder of Lear-
/. G. Ins. i, 855), which shows that M. chos occurred,
was also a sculptor like his father. 4. verecundiae rubor : cf. Plu-
 II. BRONZE STATUARY 8i

The artist Aristonidas in a statue representing Athamas after 14,0

the murder of his son sought to depict fury giving place to

Yronin
repentance, and mixed copper and iron, that the rust might show statms.
through the metallic lustre of the copper and express the blush of
shame ; this statue exists to this day at Rhodes, where also is 141
a Herakles which Alkon bethought himself to cast in iron, in

allusion to the fortitude of the god under his labours. We can

also see cups of iron at Rome, dedicated in the temple of Mars
the Avenger.

tarch's description of the lokasta of perhaps identical with the chaser

Seilanion, Su/iTT. V, I, 2, cf. ttSj ScitSi/ Alkon, Athen. xi, p. 469 A, the
viovuoirj/i. a«. iii,30 Pseudo - Virgil, Culex, 66 Ovid,
;

6. Alcon : according to Brunn, Metam. xiii, 683 ff.

K. G. ii, p. 402 (cf i, p. 466) he is 7. Martis ultoris : above § 48.
 C. PLINII SECUNDI

NATURALIS HISTORIAE
LIBER XXXV, §§ 15-29; 50-149; 151-158

(PICTURA ET PLASTICS)

G 3
 /. PICTURA.
Lib.
XXXV,
15 De picturae initiis incerta nee instituti operis quaestio est.
Aegyptii sex milibus annorum apud ipsos inventam prius-
quam in Graeciam transiret adfirmant vana praedicatione,
ut palam est, Graeci autem alii Sicyone alii apud Corinthios
repertam, omnes umbra hominis lineis circumducta, itaque S

primam talem, secundam singulis coloribus et monochro-

maton dictam postquam operosior inventa erat, duratque
16 talis etiam nunc, inventam liniarem a Philocle Aegyptio
vel Cleanthe Corinthio primi exercuere Aridices Corinthius
'°
etTelephanes Sicyonius, sine uUo etiamnum hi colore, iam
tamen spargentes linias intus. ideo et quos pingerent ad-

§ 15. 1. incerta: invii, 205 Pliny had (Introd. p. xxviii f.) point to Xeno-
already given two different versions. krates as authority.
2. Aegjrptii ; their contention was 5. umbra . . . circumducta: this
obviously a true one ; thevana prae- theory is purely arbitrary ; it rests on
dicatione is drawn from a Greek the conventional supposition that the
writer anxious to claim the invention simpler method necessarily precedes
of painting for Greece. the more complex — that pictures in
4. Sioyone : for its claims to outline precede pictures where the
artistic preeminence cf. below, 5 75, contours are filled in, and mono-
xxxvi, 9, and note on xxxiv, 55 it is ; chrome painting polychrome. The
probable that Corinth was the earlier historical study of the monuments,
artistic centre, and that priority was 1. e. of early painted fictile wares, has
claimed for Sikyon, when, in the latter shown, however, that the operation
half of the fifth century, it began to was rever^ed in both cases ; cf.

assume the leadership of the Pelo- Robert, Arch. Marchen, p. 121 ff.

ponnesian schools. The allusion to Studniczka {Jahrb. ii, 1887, p. 148

Sikyon, and the theoretical character ff.) has made a vigorous attempt to
of the following genesis of painting reconcile fact with the Plinian tra-
 I. PAINTING. Book
XXXV.
The origin of painting is obscure, and hardly falls within the 15
scope of this work. The claim of the Egyptians to have dis-
^//(""f.f.
covered the art six thousand years before it reached Greece is gin.

obviously an idle boast, while among the Greeks some say that it

was first discovered at Sikyon, others at Corinth. All, however,

agree that painting began with the outlining of a man's shadow ;

this was the first stage, in the second a single colour was employed,
and after the discovery of more elaborate methods this style, which
is still in vogue, received the name of monochrome.

The invention of linear drawing is attributed to t Philokles of 16

Egypt, or to Kleanthes of Corinth. first to practise it were The
gf^iyll
t Arideikes of Corinth, and t Telephanes of Sikyon, who still used Kleanthes
no colour, though they had begun to give the inner markings, and %rideikes'
from this went on to add the names of the personages ih&y of Corinth.
Telephanes
of Sikyon.
dition ; see also Hollwerda in Jahrb. Philoole Aegyptio : harks back
V, 1890, p. 256 f.and C. Smith, art. to the Egyptian tradition ; Miinzer,
PlCTUEAinSmith'sZ'zV/.^«^.p.40of., Hermes, xxx, 1895, p. 512, note i.
who gives a lucid analysis of the 9. Cleanthe : known from Strabo,
question. viii, p. 343, as the painter of (3)
§ 16. 8. inventam liniarem : the an Ilionpersis, iV) a Birth of Athena
use of invenio like that ol primus (cf. (cf. Athen. viii, 346 C) ; for the
note on xxxiv, 54) must not be probable style of these paintings cf.

pressed; it arises from the determina- Studniczka, op. cit. p. 153.

tion, already noted in the case of the 11 adsoribere institutum
. the ;

bronze statuaries, to connect each names of the personages portrayed

stage of a progress virith one definite were used ornamentally to fill up
name. space, as often on black-figured vases.
 86 C. PLINII SECUNDI NAT. HIST. XXXV
scribere institutum. primus invenit eas colore testae, ut
Ecphantus Corinthius. hunc eodem nomine
ferunt, tritae,
alium fuisse quam quem tradit Cornelius Nepos secutum
in Italiam Damaratum Tarquinii Prisci regis Romani patrem

fugientem a Corintho tyranni iniurias Cypseli mox docebi- 5

mus.
17 lam enim absoluta erat pictura etiam in Italia, exstant
certe hodieque antiquiores urbe picturae Ardeae in aedibus
sacris, quibus ego quidem nullas aeque miror, tarn longo
aevo durantis in orbitate tecti veluti recentis. similiter 10
Lanivi, ubi Atalante et Helena comminus pictae sunt nudae
ab eodem artifice, utraque excellentissima forma, sed altera
18 ut virgo, ne ruinis quidem templi concussae. Gains princeps
tollere eas conatus est libidine accensus, si tectori natura
permisisset. durant et Caere antiquiores et ipsae. fate- 15
biturque quisquis eas diligenter aestimaverit nullam artium
celerius consummatam, cum Iliacis temporibus non fuisse
eam appareat.

I. invenit] codd. ; inlevit Haupt, Detlefsen.

invenit: the manuscript read-

I. 4. Damaratus: below § 152 Tac. ;

ing is defended by Holwerda [pp. cit. Ann. xi, 14; Dionysios H. iii, 46 ff.,

p. 259, note 64) who pouits ont that Strabo v, p. 219, viii, p. 378, &c.
invenire eam colore testae tritae can^- 5. mox dooebimus ; Furtwangler
spends to picturam invenire singulis {Plinius, p. 25 f. ; of. Robert, /4?-cA.

coloribus above. '? at primus invenit Mdrchen, p. 123) has shown that the
cf. below, §§ 151, 152. proof follows immediately: iam
testae tritae the process, which
: enim . . .

is known only from this passage, § 17. 8. Ardeae iii, 56 for the
: ;

probably died out early, Bliimner, paintings by M. Plautius in its temple

Technol. iv, p. 478 f. of Juno, below, § 115 ; for paintings
•z. Eephantus : the name is that in temple of Castor and Pollux see
of a painter inscribed on the columna Servius on Aen. i,
44 (Thilo i, p. 31) ;

Naniana [I. G. B. 5) ; the identity nam Ardeae in templo Castoris et

suggested by Studniczka {pp. cit. p. Pollucis in laeva intrantibus (cf.

151) is quite uncertain. below, § ic,^ post forem Capaneos

3. alium fuisse quam attempts : pictus estfulmen per utraque tempora
to reconcile two variant traditions traiectus.
namely the attribution of the invention 11. Lanivi: iii, 64; viii, 221.
of painting proper to Ekphantos, and 12. altera ut virgo: for the
thf Italian tradition that painting was ellipse of the first altera cf. below,
'

perfect in Italy long before the arrival § 71 hoplites in certamine ita

of the Greeks. where the
Cf. § 152, decurrens ut sudare videatur, alter
fictores who followed Damaratos into arma deponens ut . . . and see note on
Italy are mentioned. xxxiv, 54, 1. 7.
 /. PAINTING 87

painted. The invention of painting with colour made, it is

said, from powdered potsherds, isdue to \Ekphantos of Corinth. Ekphantos
I shall show presently that this Ekphantos is distinct from that "f^""""'"
namesake of his who, according to Cornelius Nepos, followed
Damaratos, the father of Tarquin the Ancient, in his flight to
Italy from Corinth to escape the insults of the tyrant Kypselos,
for by that time painting in Italy also had already reached high 17
perfection. To this day we may see in the temples of Ardea ^J'Jaintin"
paintings older than the city of Rome, which I admire beyond in Italy.
any others, for though unprotected by a roof they remain fresh
at^Ardfa
after all these years. At Lanuvium again are two nude figures by jn^lanta
the same artist, and Helen, painted side by side,
of Atalanta and Helen
^'^"""
Both are of and the one is painted as a virgin ; they
great beauty, '^'-

have sustained no injury though the temple is in ruins. The 18

Emperor Caligula, who was fired by a passion for these figures,
would undoubtedly have removed them if the composition of the
stucco had allowed of it. Caere possesses some still more ancient Paintings
^'^"
paintings. No one can examine these carefully without confess- '^^

ing that painting reached its full development more rapidly than Rafid de-
any other art, since it seems clear that it was not yet in existence ^f/%T^t
in Trojan times.

13. ne ruinis ctuidem oonoussae : baturque rursum pugna, ni Mara-

one may conjecture that the Atalanta boduus castra subduxisset.
and Helena had once formed part of 15. Caere, iii, 51 ; an interesting
a larger composition which was series of from Caere
paintings
partially destroyed in Pliny's time. (Cervetri) nowMus. has
in the Brit.
Engelmann {ap. Roscher, i, p. 1964) been published by A. S. Murray,
conjectures that the painting had origi- J-H. S. x, 1889, pi. vii, pp. 243-252,
nally represented a mortal counter- who justly points out their dependence
part of the Judgement of Paris
' '
on Greek models. In asserting the
on the analogy of a bronze Etruscan independent development of painting
cista at Berlin (Friederichs, Bronzen, in Italy, Pliny has evidently been
542, cf Arch. Am. 1889, p. 42), where misled by his patriotism. A similar,
Paris appears in conversation with but somewhat later, series of paint-
three nude women Felena (Helen), ings from Caere in the Louvre, Mon.
Ateleta (Atalanta) and Alsir (?). Inst, vi, vii, pi. 30.
Helen was a favourite subject of the 17. Iliaois temporibus the state-
:

Etruscan artists ; cf. Gerhard, Etr. ment based on the Homeric poems,
is

Spiegel, iv, 373-382. where, with the exception of the p^ej

§ 18. 14. libidine aeeensus : for and the 'lirnov irapfiiov
luKToiraprioi,

similar stories cf below, § 70 ; xxxiv, (//. iv, which 'a woman of

141)
62. Paionia or Maionia dyes with purple,'
teotori natura : below, § 173. there are no allusions to painting;
For the elliptical construction of si see O. MUUer, Handbuch, p. 5 r
permisissetci.Tsic.Ann.n, 46 ; spera-
 88 C. PLINII SECUNDI NAT. HIST. XXXV
19 Apud Romanes quoque honos mature huic arti contigit,
siquidem cognomina ex ea Pictorum traxerunt Fabii claris-

simae gentis, princepsque eius cognominis ipse aedem Salutis

pinxit anno urbis conditae CCCCL, quae pictura duravit
ad nostram memoriam aede ea Claudi principatu exusta. 5

proxime celebrata est in foro boario aede Herculis Pacuvi

poetae pictura; Enni sorore genitus hie fuit, clarioremque
20 artem earn Romae fecit gloria scaenae. postea non est
spectata honestis manibus, nisi forte quis Turpilium equitem
Romanum e Venetia nostrae aetatis velit referre pulchris 10
eius operibus hodieque Veronae exstantibus. laeva is manu
pinxit, quod de nuUo ante memoratur. parvis gloriabatur
tabellis extinctus nuper in longa senecta Titedius Labeo
praetorius, etiam p roconsulatu provinciae Narbonensis functus,
21 sed ea re in risu etiam contumeliae erat fuit et principum 15

virorum non omittendum de pictura celebre consilium.

A.u.c. 709. cum Q. Pedius nepos Q. Pedii consularis triumphalisque et
a Caesare dictatore coheredis Augusto dati natura mutus
asset, in eo Messala orator, ex cuius familia pueri avia
fuerat, picturam docendum censuit, idque etiam divus 20
Augustus comprobavit, puer magni profectus in ea arte
22 obiit. dignatio autem praecipua Romae increvit, ut existimo,

§ 19. 2. Fabii clariss. gentis : An of these wall-paintings. (Against the

censemus, siFabio, nohilissimo homini, proposed identification of a wall paint-
laudi datum esset quod pingeret, non ing from the Esquiline, Bull. Comm.
multos afud nos futuros Polyclitos et 1889, pi. xi, xii, as '
riproduzione in
Parrhasiosfuisse ? Cic. Tusc. Disput. piccol6 ' of the pictures in the temple
i, 2, 4. The first Pictor is of course of Salus, see Hiilsen, Rom. Mitth.
distinct from the historian (b. about 1891, p. ill.)
B.C.254; Teuffel, 116). 6. foro boario aeda Herculis:
3.aedem Salutis since the : this temple, which was called aedes
temple was dedicated by C. Junius Aemiliana (according to Scaliger's
Bubulcus, a hero of the second emendation of Festus, p. 243) was
Samnite war, B.C. 311, and consecra- either founded or restored with great
ted by him as Dictator,
302 B.C. splendour by Aemilius PauUus the
(Liv. ix, 43, 25), the pictures probably conqueror of Pydna ; of. H. Peter, ap.
related to his exploits in Apulia Roscher, was natural,
i, p. 2909 f. It
(Urlichs, Malerei in Rom, p. 7). From as Uilichs (Malerei, p. 1
7) points out,
Valerius Max. viii, 14, 6 it appears that he should employ to decorate it
that they were extensive compositions, Pacuvius, who had written in his
covering perhaps the two long walls of hono\iit)i&PraetextaPaulus{Kibhsck,
thecella. Dionysios, xvi, 6, praises the Rom. Trag. 326), and whose inti-
fine drawing, and sharp clean contours macy with Laelius, the bosom friend
 /. PAINTING 89

Among the Romans too this art was early had in honour, see- 19
ing indeed that so distinguished a family as the Fabii drew from
;^^^^"f
it the name of Pictor [Painter] ; and the first of the name actually Fabius

"^ '^'
painted the temple of Safety, in the year of 450 [304 b.c.]. Rome
These paintings lasted until my day, when the temple was burned
down in the reign of Claudius. Soon afterwards the poet Facu- Pacuvius.
vius won great renown through his paintings in the temple of
Hercules in the Cattle Market. The mother of Pacuvius was
a sister of Ennius, whence it came about that the drama lent
a new lustre to the art of painting at Rome. Since that time. 20
however, the profession of painter has received no honour at the
hands of men of good birth, unless we except in our own time
Turpilius, a Roman knight from Venetia, whose excellent pictures Turpilius.
are still to be seen at Verona. He painted with his left hand,
a peculiarity noted of no artist before him. Titedius Labeo, who Titedius

died not long ago in extreme old age, was proud of the little

pictures that he painted he was of praetorian rank and had even

:

been governor of Narbonensis, yet his art only brought upon him
ridicule and even scorn. Nor must I omit the famous decision 21
with regard to painting arrived at by eminent statesmen. Quintus Qumtus
Pedius (grandson of that Quintus Pedius who had been consul,
had enjoyed a triumph and was named by the dictator Caesar as 45 ^.c.

co-heir with Augustus) having been dumb from his birth, it so

befell that Messala, the orator, to whose family the boy's grand-
mother belonged, advised that he should be taught to paint. The
god Augustus approved of the idea, and the boy had made great
progress in the art when he died. The esteem which the Romans 22

of Aemilius' son Scipio, is known to was the grandson of Caesar's elder

us from Cicero {Laelius, 7, 24). sister; he triumphed Dec. 13,8.0.45,
§ 20.honestis manibus of.
9. : after his Spanish campaign (Appian,
Cic. Tusc. Disf. loc. cit., and the Bell. Civ. iii, 22, 23, 94-96), was
ironical words applied to Fabius consul with Augustus in B.C. 43, in
Pictor by Val. Max. viii, 14, 6. which year he died.
Turpilium ; possibly a descen- 18. coheredis dati : Suet. Julius,
dant of the Turpilius who wrote come- 83.
dies, and was a contemporary of 19. Messala orator : B.C.64-A.D.
Terence CRibbeck, Com. 2nd ed. 85). 8 (Teuffel, 222), quoted in the indices
II. Veronae probably Pliny's
: to Blis. ix, xxxiii, xxxv ; restores the
birthplace, since in Praef. i he speaks ancient Sibyls, xxxiv, 22. Cf. also
of Catullus as his conterraneus. vii, and above, § 8.
90,
13. Titedius Iiabeo Tac. : Ann. avia: i.e. the wife of Q. Pedius,
ii, 85. the legatee of Caesar.
§ 21. 17. Q. Pedii oonsularis he ; § 22. 22. dignatio . . . inorevit
 go C. PLINII SECUNDI NAT. HIST. XXXV
a M'. Valerio Maximo Messala, qui princeps tabulatn pictam
proelii quo Carthaginienses et Hieronem in Sicilia vicerat,
proposuit in latere curiae Hostiliae anno ab urbe condita
CCCCLXXXX. fecit hoc idem et L. Scipio, tabulamque
A.u.c. 565. victoriae suae Asiaticae in Capitolio posuit, idque aegre 5

tulisse fratrem Africanum tradunt haut inmerito, quando

23 filius eius illo proelio captus fuerat. non dissimilem
ofFensionem et Aemiliani subiit L. Hostilius Mancinus qui
primus Carthaginem inruperat situm eius oppugnationesque
depictas proponendo in foro et ipse adsistens populo spectanti 10

singula enarrando, qua comitate proximis comitiis con-

A.u.c. 609. sulatum adeptus est. habuit et scaena ludis Claudii Pulchri
magnam admirationem picturae, cum ad tegularum simili-
tudinem corvi decepti imaginem advolarent.
24 Tabulis autem externis auctoritatem Romae publice fecit 15

primus omnium L. Mummius cui cognomen Achaici victoria

A.u.c. 608. dedit. namque cum in praeda vendenda rex Attains
XrVI] emisset tabulam Aristidis, Liberum patrem, pretium
miratus suspicatusque aliquid in ea virtutis quod ipse
onRoman triumphal picturesgenerally which of the two occasions he exhi-
see the excellent remarks of Raoul- bited the picture of his exploits (cf.

Rochette, Peint. Ant. p. 303 f., and Urlichs, op. cit. p. 14).
recently Wickhoff, Wiener Genesis, aegre tulisse
5. the injury felt :

p. 30 f. was far-fetched from Val. Max. ii, 10

;

I. M'. Valerio Maximo Messala: 2, we learn that Antiochos treated

COS. B.C. 263; cf vii, 214. the sou with marked courtesy, and
3. in latere curiae Host. see- : sent him back celeriter.
ing the numerous changes undergone § 23. 8. Aemiliani : the offence
by the Curia between the date of presumably consisted in the omission
Messala and that of Cicero, the iden- from the picture of any allusion to
tity of the picture with the tabula the timely help of Scipio, Appian,
Valeria {Cicero mVat.<j, 21; ad Fam. AiP. 113 ff.; cf. iiiii. 134, where a
xiv, 2, 2) is improbable (it seems ac- graphic account is given of the en-
cepted by Becker, J?Sm. Top. p. 326, thnsiasm with which the Romans
note 99, and recently by Gilbert, Ce- received the news of the fall of
schichte u. Top. iii, p. 165, note 2 ; Carthage.
Urlichs, Malerei, p. 9, suggests that 12. scaena : i. e. 'she. scaenae frons
the exhibition was only temporary). or wall of the stage-buildings, upon
The date usually assigned to Messala's which the scenic decorations were
victory is A. u. c. 491 =B.c. 263. hung, cf § 65.
%. Ii. Scipio : he triumphed on Claudii Pulchri : aedlle B. c. 99
the last day of the intercalary month on his games see viii, 19 ; Val.
of B.C. 188, but his splendid games Max. ii, 4, 6 C. Pulcher scenam va-
were not celebrated till B.C. 186 (cf rieiate colorum adumbravitvacuis ante
xxxiii, 138). It is not known on pictura tabulis extentam.
 I. PAINTING 91

gave to painting was greatly increased (so

it seems to me) by the

action of Manius Valerius Maximus Messala. He first caused M\ Val.

^"'
pamtedJ Till
his victory over the Carthaginians and Hiero in Sicily to be
on wood, and exhibited the picture at the side of the
^f''-
^"''^ '"'"'
memorates
Curia Hostilia in the year of Rome 490 [264 b c.]. Following ^" '""^."''y
his example Lucius Scipio exhibited in the Capitol a picture repre- tun.
senting his Asiatic victory, a step which not unnaturally displeased
^ f"?'"
his brother '
the African,' whose son had been taken prisoner in 189 b.c.

the battle. In the same way Lucius Hostilius Mancinus, who 23

had been the first to enter Carthage, incurred the anger of Scipio ^: ^°i'^'
Aemilianus by exhibiting in the forum pictures of the site oi dnus.
Carthage and the various attempts to storm it, while he himself
stood by, telling the whole story to the crowd of spectators with
won him the consulship.
a geniality which at the next elections 145 e.g.
At the games given by Claudius Pulcher, the painting of the 99 ^^'
scenery excited great wonder, the very crows being deceived by
the painted tiles and iiying down to settle on them.
Foreign pictures, however, were first publicly brought into 24
vogue at Rome
by Lucius Mummius, surnamed the Achaean from 'Mummius
his victories. At the auction of the spoils. King Attalos had bid
^fj^^f'^"^
for a picture of Dionysos by Aristeides the sum of 600,000 denarii /«V/««j.

[_;^2 1,000 circ], whereupon Mummius, surprised at the price

^"^ '

offered, and suspecting some merit in the picture which escaped

14. corvi deoepti; cf. below, §§ 65, rex Attains: see vii, 126. As
66, and 155. a fact Attalos himself was not present
§ 24. 16. Ii. Mummius: in xxxiii, at Corinth (Pans, vii, 16, i); he had
i49,however,theintroductionofforeign only sent an auxiliary force to the
pictures into Rome is attributed to Romans, under the command of Philo-
Scipio's Asiatic victories ; while Liv. poimen. There is a further inaccuracy
XXV, 40, states that the first enthusiasm in the account of the purchase : ac-
for Greek pictures at Rome was a cording to Polybios (a/«(/Strabo, viii,

result of the capture of Syracuse by who was an eye-witness, the

p. 381),
Marcellus : ceterum inde frimum Roman soldiers were already using the
initium mirandi Graecarum artium pictures as dice-boards, when Philo-
cf. also Cato's speech as given Liv. poimen offered a hundred talents to
xxxiv, 4 (below note on § 157)1 and Mummius in case he should feel dis-
Plut. Marcell. xxi. posed to assign the picture to Attalos'
17. in praeda vendenda : the share of the booty. For the paintings
notion of an auction is inaccurate collected by Attalos, see Frankel,
according to Paus. vii, 16, S, Mum- _ya,4>-i.vi (i89i),pp. 49-60,'Gemalde-
mius had taken to Rome the most Sammlungen u. Gemalde-Forschung
valuable works of art, and handed in Pergamon.'
over to Philopoimen (see next note) 18. Aristidis : below, §§ 98-100.
the less important objects. Liberum patrem below, § 99.
;
 93 C. PLINII SECUNDI NAT. HIST. XXXV
nesciret, revocavit tabulam Attalo multum querente et in
Cereris delubro posuit, quam primam arbitror picturam
25 externam Romae publicatam. deinde video et in foro
positas volgo. hinc enim ille Crassi oratoris lepos agentis
sub Veteribus, cum testis compellatus instarct : die ergo, 5

Crasse, qualem me noris ? talem, inquit, ostendens in tabula

pictum inficetissime Galium exerentem linguam. in foro
fuit et ilia pastoris senis cum baculo, de qua Teutonorum
legatus respondit interrogatus, quantine eum aestimaret,
donari sibi nolle talem vivom verumque. 10
26 Sed praecipuam auctoritatem publice tabulis fecit Caesar
dictator Aiace et Media ante Veneris Genetricis aedem
dicatis, post eum M. Agrippa vir rusticitati propior quam
deliciis. exstat certe eius oratio magnifica et maximo
civium digna de tabulis omnibus signisque publicandis, 15
quod fieri satius fuisset quam in villarum exilia pelli. verum
eadem ilia torvitas tabulas duas Aiacis et Veneris mercata
est a Cyzicenis HS. [XII]. in thermarum quoque cali-
dissima parte marmoribus incluserat parvas tabellas paulo
ante, cum reficerentur, sublatas. 20

I. in Cereris delubro : xxxiv, Mariano scuto Cimbrico. The pro-

15; below, §§ 99, 154. Strabo, loc. trading tongue was probably apotro-
cit. rdv di Aiivvaov [sc. 'ApiffxeiSou] paic (cf.Urlichsin CA^rfoOT., p. 343) ;
avaKilufvov hv Ta) A7]iJ.rjTpeiij} rS ev being misunderstood it gave occasion

'PiifiTi KaKKiarov epyow iaipSifiiv kpi- to the witticisms recorded by Pliny,

irprjffdevTQS h^ tov veOj ffvvrjcpaviaOTj ical Cicero and others with Quinctilian,
^ ipaip^i veaffTi. perhaps also to the remark in Liv.
§ 25. 4. Crassi oratoris : Cicero vii,10, 5 (Galium) linguam eiiam
:

{de Orat. ii, 66, 266 ; cf. Quinct. vi, 3, ab irrisu exserentem.
38, where see Spalding's note) attri- § 26. 12. Aiace et Media: vii,
butes the witticism to the orator, C. i26=App. I; below, §§ 136, 145.
JuliusCaesarStrabo (Teuffel,i53, 3). ante V. G. aedem: whereas
5. sub veteribus : sc. tabernis, in §136 the same pictures are said to
cf. §113; these shops, with a colon- be in V. G. aede ; the latter seems
nade in front of them, stood facing the the likeliest
; the first variant is prob-
Sacra Via, on the site afterwards oc- ably due to Pliny's carelessness ; cf.
cupied by the Basilica Julia. The Miinzer, 'oJ>. cii. p. 542. The temple
tribunal, where the scene is imagined, was vowed by Caesar at Pharsalos
may, have stood close to the Hegia ; (b.c. 48), ded. with the Forum, Sept.
cf. Jordan, Tofi. 1, -i, p. 382, note 92. 24 or 25, B.C. 46 (but see Mon. Ancyr.
Cicero, loc. cit. , has sub novis, i. <;. on iv, 1 2;Mommsen, Res Gestae, p. 84 f.)
N. side of the Forum. 13. M.Agrippa: B.C. 63-A.D. 12 ;
6. in tabula Cic. : loc. cit. in Teuffel, 220, jo-14.
 /. PAINTING 93

his own eyes, withdrew it, in spite of the protests of Attalos, and
afterwards dedicated it in the temple of Ceres. This was,
I believe, the first foreign picture publicly dedicated at Rome.

Later on I see that they were constantly put up even in the 25

Forum, a custom which gave the orator Crassus an opening for
a witticism. He was pleading a case close to the Old Shops,
when a witness under examination said to him, 'Pray what do
you take me for, Crassus ? '
Just such a man as that,' answered
'

Crassus, pointing to a coarse picture of a Gaul with his tongue

out. In the Forum too was the picture of an old shepherd with
his staff, of which the envoy of the Teutons said, when asked what
he thought it was worth, that he would not take such a man at
a gift, even if he were alive and real.
But the highest public tribute to painting was paid by the 26
dictator Caesar when he dedicated the Aias and the Medeia in patrona<re
front of the temple of Venus the Mother, and after him by Marcus Aias and
Agrippa, whose natural tastes inclined to rustic simplicity rather ,
^ "^
than to the refinements of luxury ; a magnificent speech of his
at least is extant, fully worthy of the first citizen in the state,

urging that all pictures and statues should be made public pro-
perty — certainly a wiser plan than to consign them to exile in our
country houses. Yet the rude Agrippa bought two pictures an Aias and —
—
Aias and an Aphrodite from the people of Kyzikos for 1,200,000 f^^^'jA,!
sesterces [;^i 0,500 circ.J, and further, in the hottest chamber oi ^ikos.
his baths were some small pictures, let into the marble, which
were removed not long ago in the course of a restoration.

17. Aiacis et Veneris: nothing inE.c. 33, or to adorn the buildings

fnrther is known of either picture ; the which several years later were carried
grounds for identifying either or both out under his direction (the Septa
with the Ajax and Medea purchased Julia in B. c. 26 ; the Thermae and
by Caesar (Welcker, Helbig, Urlichs, the Porticus Neptunia in the follow-
&c.) are purely fanciful. From the ing year ; cf. Brandstatter, loc. cit^.

pDsteum-we may assume that Agrip- 18. thermarum immediately be- :

pa's purchases were later than Caesar's, hind the Pantheon: the calidissima
and the price paid for the pictures pars must be identical with the cal-
was not the same (cf. § 136 where darium.
the price paid by Caesar is given). 19. incluserat : according to a
The question is fully discussed by custom general in Roman times ; cf.

F. Brandslatter, Timomachos, p. 16 if. below the pictures in the Curia Julia

The occasion for Agrippa's. pur- (§ 27). The six celebrated mono-
chases, and the spot where he exhi- chrome pictures whitein red on
bited them, are unknown. He may marble slabs (Naples) had been let
have bought the pictures as aedile into the wall in a similar manner ; cf.
 94 C. PLINII SECUNDI NAT. HIST. XXXV
27 Super omnis divus Augustus in foro suo celeberrima in
parte posuit tabulas duas quae Belli faciem pictam habent
et Triumphum, item Castores ac Victoriam. posuit et quas
dicemus sub artificum mentione in templo Caesaris patris.
A.u.c. 725. idem in curia quoque quam in comitio consecrabat duas 5

tabulas inpressit parieti. Nemean sedentem supra leonem

palmigeram ipsam adstante cum baculo sene cuius supra
caput tabella bigae dependet, Nicias scripsit se inussisse,
28 tali enim usus est verbo. alterius tabulae admiratio est
puberem filium seni patri similem esse aetatis salva differentia 10

supervolante aquila draconem complexa. Philochares hoc

suum opus inmensam, vel unam si tantum
esse testatus est.
banc tabulam potentiam artis, cum propter
aliquis aestimet,
Philocharen ignobilissimos alioqui Glaucionem filiumque
eius Aristippum senatus populi Romani tot saeculis spectet. 15

posuit et Tiberius Caesar minime comis imperator in templo

ipsius Augusti quas mox indicabimus.
29 Hactenus dictum sit de dignitate artis morientis. quibus
coloribus singulis primi pinxissent diximus, cum de his pig-
mentis traderemus in metallis monochromata ea genera :
20

picturae vocantur. qui deinde et quae invenerint et quibus

temporibus, dicemus in mentione artificum, quoniam indicare
naturas colorum prior causa operis instituti est. tandem
6. impressit parieti, Nemean usque ad bigae (bige Voss., bigere Bamb.,
palmigere Bamb. e corr.) dependet. Nicias Detlefsen; interpunctionem corr.
Traube. 20. metallis: monochromata . . . vocantur] Littri; metallis. qui
monochromata — ea genera picturae vocantur Detlefsen, vid. errata, vol. v
peg. 25°-

Robert, Hall. Winckelm. frogr. xix, Augustus B.C. 29: it had been be-
1895, P- 6 f. Raoul-Rochette, Pein-
; gun by Caesar to replace the Curia
tures, p. 162 Wickhoff, Wiener Gene-
; of Sulla.
sis, p. 70. 6. inpressit parieti : cf. note on
§ 27. I. in foro . . . parte : below, incluserat in § 26.
\ ^^,mfori sui celeherrimis fariihus. Nemean . . . Uicias : 5§ 130,
2. Bellifaoiem et Triumphum . . . 131. The Nemea was the personifi-
= below, § 93 Belli imaginem re- cation of the festal city; the senex
strictis ad terga manibus, Alexandra with the one of the judges in the
staff
in curru triumphante ; ib. Castorem games ; the tablet with the chariot
et cum Victoria.
Pollucem indicated the particular contest of
3. quas dicemus i. e. the Anadyo- : which the picture was the memorial
mene of Apelles in § 91. (Brunn, K. G. ii, p. 194) cf. in Pans. ;

5. in curia : sc. Julia, ded. by i, 22, 7 the picture commemorating

 I. PAINTING 95

Above all the god Augustus placed in the most frequented part 27
of the Forum which bears his name, two pictures, the one containing ^i^^l"l^
figures of War and of Triumph, the other Kastor and his twin, Ms forum.
with Victory. He also dedicated in the temple of his father Caesar /« temple
(^"'""''
certain pictures which I shall mention when I enumerate the artists. °f

Furthermore he let into the wall of the Council Chamber which in Curia.
he consecrated in the Comitium two pictures.
^ On the one, which ^9 ^f-
I. Nemea
represents the nymph Nemea holding a palm and seated on a by Nikias.
lion, while an old man with a staff stands by, above whose head

is suspended a tablet with a two-horse chariot, Nikias has written

that he burned in the painting, using that very word \ivUaiv\. In 28
the other picture
'^
we admire the marked resemblance between ?•
^'J^'"''^
by Philo-
a young man and his aged father, although the difference of age chares of
Glaukwn
is not lost :
'
an eagle
o with a snake in its talons is flying over their JO
^„^ Arts-
heads. Philochares lays claim to the painting as his work, tippos.
Marvellous is the power of art, judged by this work alone, since
Philochares could turn the eyes of the Senate of the Roman
people for so many years upon Glaukion and his son Aristippos,
persons otherwise quite obscure. Tiberius Caesar too, rude Tiberius.

prince though he was, dedicated in the temple of Augustus

pictures which I shall name later on.

have said enough concerning the dignity of a decaying art. 29

I
When treating of pigments in my account of metals I named the
colours used singly by the early painters ;
paintings in that style
are called monochromes. Subsequent innovators, together with
the character and date of their inventions, I shall treat of in my
account of the artists, since the scheme of my work obliges me
first to describe the composition of the pigments employed.

the victory of Alkibiades in the Ne- to the picture of Philochares, Wun-

mean games : 'iiritav de ot vixrjs Ti7s tv derer {Manubiae Alex:andrinae,y. 23)
Nef^ea karl arj/ieTa kv ttj ypatpy ; also suggests that it belonged to Augus-
the pinax wtih biga on the Ikaorios '
tus's Egyptian spoils.
relief (Br. MuB. = Friederichs-Wolters, 11. PMloeliares : perhaps identi-
1844). cal with the vase-painter, brother of
8. inussisse i.e. eveieaev : cf. 132. the orator Aischines, mentioned
§ 28. 9. alterius tabulae : since derisively {d.\a0aaTo6fiKas ypi<pm>) by
placed in the open air,presumably Demosthenes, J^a/s. Leg. p. 415, 237
likewise in encaustic. The eagle and (01.109,2 = 8.0.343).
snake, like the tabella bigae, must 17. luox indicabimus : in § 131.
have referred to the event com- § 29. 19. diximus : in xxxiii,
memorated by the picture. How the 117.
work of Nikias came into the hands 20. monochroinata : ibid. ; cf.

of Augustus is unknown (§ 131); as above, § 15; below, § 56.

 96 C. PLINII SECUNDI NAT. HIST. XXXV
sears ipsa distinxit et invenit lumen atque umbras, differentia
colorum alterna vice sese excitante. postea deinde adiectus
est splendor, alius hie quam lumen, quod inter haec et
umbras esset appellarunt tonon, commissuras vero colorum
et transitus harmogen. 5

50 Quattuor coloribus solis immortalia ilia opera fecere —ex

albis Melino, e silaciis Attico, ex rubris Sinopide Pontica,
ex nigris atramento —Apelles, Action, Melanthius, Nico-
machus, clarissimi pictores, cum tabulae eorum singulae
oppidorum venirent opibus. nunc et purpuris in parietes lo

migrantibus et India conferente fluminum suorum limum,

draconum elephantorumque saniem nulla nobilis pictura est.
omnia ergo meliora tunc fuere, cum minor copia. ita est,
quoniam, ut supra diximus, rerum, non animi pretiis ex-
cubatur. 15
51 Et nostrae aetatis insaniam in pictura non omittam. Nero
princeps iusserat colosseum se pingi CXX pedum linteo,
incognitum ad hoc tempus. ea pictura cum peracta esset
1. lumen atque umbras : cf. — is so marked a quality of certain
xxxiii, 160; below, § 131. Renascence and modem artists (e.g.
alterna vice sese excitante
2. Titian, Turner). Kiilb rightly trans-
this passage should be studied in lates '
Glanz.' Introd. p. xxxiv.
connexion with Aristotle's doctrine, in 4. tonon what : the modern French
the third book of the Meteorologica, would call '
values,' i. e. the passages
of the juxtaposition of colours from the more lit up parts in a picture
cf. with relation to the Plinian to the less, the '
value ' being the
words : fieXav irapci fxiXav Trout rh quantity of light in a given colour.
Tipijia \€vK&v iravreT^ws ^aiviaOoL commissuras . . . colorum :

XivKov Meteor, p. 375 a, 20. .See on the arrangement of colours, resulting

the whole subject, Bertrand, £iudes, in apfio'fT), or what the modems
pp. 150-160. would call the general '
tone ' of a
3. splendor meaning sug-
: the picture.
gested for this word by Bliimner, § 50. 6. ftuattuor coloribus
Technol. iv, p. 438 is 'reflexion (for '
cf Cic. Brutus 18, 70 similis in
reflected lights cf. § 138). But re- pictura ratio est, in qua Zeuxin et
flexion comes simply under the same Polygnotum et Timanthem et eorum
heading as treatment of light, whereas qui non sunt usi plus quam quatttior
the words of Pliny, alius hie quam coloribus, formas et lineamenta lau^
lumtn, expressly show that splendor damus ; at in Aetione, Nicomacho,
was a totally different factor to light. Protogene, Apelle iam perfecta sunt
In truth was neither more nor less
it omnia. These words do not necessarily
than the glow which as distinct
'
' — contradict the statement of Pliny or
from any treatment of light and shade prove that the later painters used more
 /. PAINTING 97

Art at last differentiated itself and discovered light and shade,

the several hues being so employed as to enhance one another
by contrast. Later on glow— a different thing to light — was
introduced. The transition between light and shade they called
Tovos,but the arrangement of hues and the transition from one
colour to another harmonization or apiioyfj.

Four colours only— white from Melos, Attic yellow, red from 50
Sinope on the Black Sea, and the black called 'atramentum'— ^'','"'
,
colours
were used by Apelles, Action, Melanthios and Nikomachos in used by
their immortal works illustrious artists, a single one of whose ^'^''^
:

pictures, the wealth of a city could hardly suffice to buy, while

now that even purple clothes our walls, and India contributes
the ooze of her rivers and the blood of dragons and of elephants,
no famous picture is painted. We must believe that when the
painter's equipment was less complete, the results were in every
respect better, for as I have already said, we are alive only to the
worth of the material and not to the genius of the artist.
In our own days too painting has known an extravagance which 51
must not be forgotten : the Emperor Nero ordered a colossal por-
£*,J^^^-^
trait of himself, 120 feet in length, to be painted on canvas, a thing of Nero
on canvas.
than four colours. The perfecta omnia 8. Apelles: below, § 92 legentes
need mean no more than that they metninerint omnia ea (sc. openi)
had learnt endless combinations of the quattuor coloribus facta.
four colours, whereas the older painters 1 1 . India . . . limmn ; i. e. indigo,
used them pure or knew but of few cf. xxxiii, 163 ; above, §§ 46, 49.
combinations. The colour effects 12. draconum elephantorumque
produced by Apelles and his con- saniem : also called cinnabaris^
temporaries being far more elaborate ' dragon's blood '
; in viii, 34, Pliny
than anything attempted in the period gives a wonderful account of its pro-
of Polygnotos, it is natural that the duction; cf xxxiii, 116.
employment of only four colours 14. ut supra diximus xxxv, 4 :

should, in their case, be dwelt upon honoremnon nisi in pretio ducentes

with special admiration. As an ex- cf. the similar rhetorical complaint
ample of what can be accomplished in xxxiv, 5.

with only four colours, the student § 51. 17. oolosseum: a counter-
will remember the Christ crowned ' part to the colossal statue by Zeno-
with thorns ' by Titian in the Munich doros in xxxiv, 45.
Pinakothek ( 1 1 14) ; cf Morelli, Gal- 1 8. incognitum : if still unknovm
leries of Munich and Dresden, p. 58 in Pliny's day, the practice of painting

(Transl. C. J. Ffoulkes). The ' four on canvas soon became general, as is

colours ' are elaborately discussed by witnessed by the portraits from the
Bertrand,.£^«^dJ, pp. 132-144. [The Fayoum ; cf. Cecil Smith, Pictura,
names Apelles — Nicomachus are in p. 329; Berger, Beitrdge, ii, p. 52 f.

alphabetical order. H. L. U.]

H
 98 C. PLINII SECUNDI NAT. HIST. XXXV
in Maianis hortis, accensa fulmine cum optima hortorum
52 parte conflagravit. libertus eius cum daret Anti munus
gladiatorum, publicas porticus occupavit pictura, ut constat,
gladiatorum ministrorumque omnium veris imaginibus red-
ditis. hie multis iam saecuHs summus animus in pictura, 5

pingi autem gladiatoria munera atque in publico exponi

coepta a C. Terentio Lucano. is avo suo a quo adoptatus
fuerat triginta paria in foro per triduum dedit tabulamque
pictam in nemore Dianae posuit.
53 Nunc celebres in ea arte quam maxima brevitate per- 10
curram, neque enim instituti operis est talis executio, itaque

quosdam vel in transcursu et in aliorum mentione obiter

nominasse satis erit, exceptis operum claritatibus quae et
54 ipsa conveniet attingi sive exstant sive intercidere. non
constat sibi in hac parte Graecorum diligentia multas post '5
quam statuaries ac toreutas,
olympiadas celebrando pictores
primumque olympiade LXXXX, cum et Phidian ipsum
initio pictorem fuisse tradatur clipeumque Athenis ab eo
pictum, praeterea in confesso sit LXXX tertia fuisse fratrem
eius Panaenum, qui clipeum intus pinxit Elide Minervae 20

I. Maianis hortis: C. I. L. vi, grove of Nemi; cf. xvi, 242 and

6152, 8668, where they are mentioned Strabo, v, p. 239.
along with the horti Lainiuni, § 53. 10. Nunc celebres . . . per-
which as we learn from Phil. Jud. eurram cf xxxiv, 53.
:

ir€pj dpfT. Koi irpiaP, 2, p. 597, ed. 13. claritatibus: fxxviii, 87 in

Mangey (cf. Becker, .A*ow. 7(J^. p. 542, ceteris claritates ani7nalium aut
note 1 142), were close to the gardens operum seqtiemur = iox the rest, I
of Maecenas on the Esqniline. shall note remarkable animals . . .

§ Anti
52. 2. : iii, was the
57 ; it H. L. U.]
birthplace of Nero (Suet. Nero 6). § 54. 14. non constat sibi . . .

4. gladiatorum . .imaginibus
. : adiutor : the supposed proofs of
numberless representations of gladia- Greek inaccuracy are skilfully cumu-
tors have come dovm to us in \2i\.t&, {a) non constat sibi ...{!>)% c^ft

mosaics such as the mosaic from

; quid quod in confesso (^) § 57
• •

Treves (Baumeister, Denkm. pi. xci) quod si recipi necesse est ... the ,

cf. the great mosaic with portraits of argriment culminating in § 58 in the

athletes in the Lateran (Helbig, words chronicorum errore non dubio.
Class. Ant. 704'). which the case of Polygnotos is
after
7. C. Terentio Lucano : possibly thrown in as a kind of postscript,
identical, according to Mommsen, The complaint was, however, unjust
with the Terentius Lucamis on the and originally based on a misunder-
coin Rom. Miinziv. p. 554, 164 (and standing, see Introd. p. xxx.
note 278). 17. olympiade LXXXX : below,
9. in nemore Dianae : i. e. the § 60.
 /. PAINTING 99

previously unheard of. When the picture was finished, it was

struck by lightning in the gardens of Maius, and burned together
with the greater part of the gardens. A freedman of this emperor 52
gave a gladiatorial show at Antium, at which the public colonnades
were adorned by a picture of all the gladiators and attendants, Portraits of
portrayed from the fQ^Sl'^^^'^t'"-
life. Realistic portraiture indeed has
many generations been the highest ambition of art ; Gaius Teren-
tius Lucanus, however, was the first to have a picture of a gladia-
torial show painted and to exhibit it in public. He showed thirty
pairs of gladiators in the Forum for three days, in honour of his
grandfather, who had adopted him : moreover he dedicated
a picture of them in the grove of Diana.
Inow propose to mention the most famous painters as briefly 53
as may' be, for a detailed account would be inconsistent with the painters."^
'
^"'"P
scheme of my work. It will therefore be enough if I give some
artists only a passing notice, or name them in connexion with
others though I must still
; make a separate mention of the
most renowned paintings, whether they be still in existence or
whether they have perished. On this point the Greeks have 54
made a mistake in placing the painters many years later than the chronology
bronze workers and metal chasers, and in giving the ninetieth of the
''" ^'
Olympiad [420-417 B.C.] as the date of the earliest painter, over-

looking the tradition that Pheidias himself was originally a painter, Pheidias.
and painted a shield at Athens. It is further acknowledged that
Panainos brother of Pheidias, who lived in the eighty-third Panainos.

pietorem cf. xxxiv, 60

iS. initio : opposed to in confesso sit, i. c. hearsay
Pythagoras Samius initio fictor and to ascertained fact.
Introd. p. li. 19. LXXX tertia : the date is

olipeum : the shield introduced loosely assumed for Panainos, as

without any further definition has being that of his brother Pheidias,
an apocryphal air (cf. Miinzer, op. xxxiv, 49 ; Robert, op. cit. p. 25
cit. p. 563,and Introd. loc. cit.). It Furtwanglex, op. cit. p. 40 f.

cannot of course be that of the Athena 20. Panaenum : Panainos is again

Parthenos as Urlichs {Chrest. p. 346), mentioned below, in his proper order
RoheTt{Jrch.March.ip.2^),andFmt- in the history of the development
wangler (Masterpieces, p. 45), would of painting, without any reference to
have it, for so important a fact would this first notice, which is from a
have been noted besides, we have the
; different source, cf. Introd. p. xxviii f.

express statement in xxxvi, 18 that and p. 11 f. Pratrem, so also Pa.us. v,

the inner side of the shield of the 11, 6: dScA(^i5oBs Strabo viii, p. 354.
Parthenos was carved in relief, H. L. intus piuxit with the device :

Urlichs, Woch. f. klass. Phil. 1895, of a cock (Paus. vi, 26, 3, where
p. 548. the Athena is simply attributed to
tradatur : H. L. Urlichs (foe. cit^ Pheidias). Introd. p. liv, note i

points out that the expression is Elide: from xxxvi, 1^7 ( = App.
H 3
 loo C. PLINII SECUNDI NAT. HIST. XXXV
quam fecerat Colotes discipulus Phidiae et ei in faciendo
55 love Olympio adiutor. quid quod in confesso perinde est
Bularchi pictoris tabulam, in qua erat Magnetum proelium,
a Candaule rege Lydiae Heraclidarum novissimo, qui et
Myrsilus vocitatus est, repensam auro ? tanta iam dignatio 5

picturae erat. circa Romuli id aetatem accident necesse

est, etenim duodevicensima olympiade interiit Candaules
A.u.c. 37. aut, ut quidam tradunt, eodem anno quo Romulus, nisi
fallor, manifesta iam tunc claritate artis, adeo absolutione.
56 quod si recipi necesse est, simul apparet multo vetustiora 10

principia eosque qui monochromatis pinxerint, quorum

aetas non traditur, aliquanto ante fuisse, Hygiaenontem,
Dinian, Charmadan et qui primus in pictura marem
a femina discreverit Eumarum Atheniensem figuras omnis
imitari ausum, quique inventa eius excoluerit Cimonem 15

Cleonaeum. hie catagrapha invenit, hoc est obliquas

imagines, et varie formare voltus, respicientes suspicientesve
vel despicientes. articulis membra distinxit, venas protulit.

VIII) it appears that Panainos also hesitate before throwing overboard our
decorated with paintings the walls of only piece of positive information —the
the temple of Athena. excidium of vii, 126 ( = App. I).
I. Colotes : xxxiv, 87. love Olym- 6. circa Homuli aetatem: the
fio : xxxiv, 54; xxxvi, 18. synchronism is based on Herod, i, 12,
§ 55. 3. Magnetum proelium who gives the death year of Kan-
according to vii, 126, a defeat daules = accession of Gyges =Jloruii
[excidiuni), but the precise event is of Archilochos, and must be con-
unknown. S. Reinach {Rev. des £t. nected with Cicero {Tusc. Disp. i,

Grecques, 1895, p. 175 ff.), justly 13), who places Archilochos regnante
comments on the strangeness of the Romulo ; cf. Miinzer, op. cit. p. 542
tradition that a Greek painter im- cf. Introd. p. Ixxxiv.
mortalized a Greek defeat, and tries to § 56. II. mouoohromatis : above,
prove the excidiujn to have crept into §§ 15. 29-
Pliny's account by confusion with the 14. discreverit : as in black-figured
celebrated defeat— or rather exter- vases, by painting the flesh parts of
mination — of the Magnetes by the the women white (Introd. p. xxix).
Treres in 651 (Strabo xiv, p.
B. c. Indeed a conventional difference be-
647), which gave rise to the pro- tween the colouring of the sexes seems
verbial TO ^orpi-qTSiv KaKa. R. wishes to have been observed dov/n to the
to refer the picture tosome one of latest time. Thus albeit Alexander was
the Magnete victories alluded to by remarkable for his fair skin, Apelles
Strabo (Joe. cit.) on the testimony of in his portrait of the king ovk e/u-
Kallinos (cf also Wilamowitz in [i'f](7aT0 7^v XP^<^^, aWoi (pcuSrepov Kai
Hermes, xxx (1895), p. 177 ff.). But imnvaJiiivov etrolTjffev Plut. .At. iv, 120.
where so much is uncertain, we shall Eumarum : the name is still known
 /. PAINTING loi

Olympiad [448-445 B.C.], painted at Elis the inner surface of the

shield belonging to an Athena by Kolotes, a pupil of Pheidias and
his assistant in executing the Olympian Zeus. Again, is it not
an undisputed fact that a picture of the defeat of the Magnetes
by the painter Boularchos was bought by Kandaules, also called Soular-
'^^''•'
Myrsilos, the last Lydian king of the line of the Heraklids, for its
weight in gold, a proof of the honour already paid to painting ?
This must have taken place in the days of Romulus, for Kandaules
died in the eighteenth Olympiad [708-705 b.c], or, according to
some authorities, in the same year as Romulus, and already then, b.c 717.
unless I am mistaken, the art had attained to greatness, even to
perfection. And if we must accept this, it follows that its first origin 58
is much older, and that the early painters in monochrome, whose Painters

dates have not been handed down to us, lived some time before, ^^^^f'
Such, for example, were i Hygiatnon, \Deimas, ^ Charmadas,
\Eumaros of Athens, who was the first to mark the difference Eumaros
"/^t"''"-
between man and woman in painting, and who ventured to
imitate every sort of figure, and Kimon of Kleonai, who developed Kimon of
^"'>"'^'-
the inventions of Eumaros. He devised Kariypa^a, or profile
drawings, and represented the features in different postures, look-
ing backwards or upwards or downwards. He marked the
attachments of the limbs, gave prominence to the veins, and also

only from Pliny, for the reading 16. catagrapha the word is sus-
;

Eu/^apo9 on the basis from the Akro- ceptible of meaning foreshortening

'

polis, bearing the signature of An tenor Jahrb. v, 1890, p. 258;

(Tilo\vierA.a,

{Jahrb. ii, 1887, p. 135 f.) is quite Hartwig, Meisterschakn, p. 156 f.,
uncertain (cf. Hartwig, Meisterschakn, Lange, Fremstilling, pp. 429,464), and
p. 154). Further, the conjecture of thiswas possibly the meaning intended
ViiichSjSumari {Holz. Pferd, 4 n. p. J by the Greek author, for profile figures,
i2),for the corrupt^«'ff2«ff«in Varro, which had existed from the earliest
Ling. Lat. ix, 6, 12, is impossible; times, could on no theory, however con-
see Spengel's critical apparatus, p. 198. ventional, be interpreted as audacious
figviras = 'position' by a slight inventions. It is clear however that
extension of one meaning given to the Pliny or his Latin author understood
wordby Cicero,f«r?-«jII,i, 21, 57,?;«» catagrapha as simply = profile, since

solum numerum signorum, sed etiam this is the meaning he gives to the
uniuscuiusque magnitudinem, figu- Greek equivalent obliqua imago in
ram, statum litteris definiri vidcs, § 90, where see note,
upon which see Pseudo-Asconius, 17. [respieientes suspioientesve

p. 1 74, 7 (ed. Orelli) figura est circa vel despicientes sudden change
:

gestum situmque membrorum (Blum- from asyndeton to disjunctive particle,

ner, Rhein. Mus. 26, p. 353). cf. xxviii, 63 contra renum aut lum-

15. Cimon: cf. the improvements borum, vesicae cruciatus, J.

Miiller,

attributed to him by Ailian, iroi«. lar. Stil, p. 69. H. L. U.]

viii, 8. 18. membra . . . protulit: cfL on
 I02 C. PLINII SECUNDI NAT. HIST XXXV
57 praeterque in vestibus rugas et sinus invenit, Panaenus
quidem frater Phidiae etiam proelium Atheniensium ad-
A.u.c. 264. versus Persas apud Marathona factum pinxit. adeo iam
colorum usus increbruerat, adeoque ars perfecta erat ut in
eo proelio iconicos duces pinxisse tradatur, Atheniensium s

Miltiaden, Callimachum, Cynaegirum, barbarorum Datim,

Artaphernen.
58 Quin immo certamen etiam picturae florente eo in-
A.u.c. 306. stitutum est Corinthi ac Delphis, primusque omnium certavit

cum Timagora Chalcidense, superatus ab eo Pythiis, quod 10

et ipsius Timagorae carmine vetusto apparet chronicorum

non dubio.
errore alii quoque post hos clari fuere ante

LXXXX olympiadem, sicut Polygnotus Thasius qui primus

mulieres tralucida veste pinxit, capita earum mitris versi-
coloribus operuit plurimumque picturae primus contulit, 15

siquidem instituit os adaperire, dentes ostendere, voltum

59 ab antiquo rigore variare. huius est tabula in portion
Pompei, quae ante curiam eius fuerat, in qua dubitatur an
ascendentem cum clupeo pinxerit an descendentem. hie
1 . vestibus rugas] Trauie ; veste brugas Bamb. ; verrugas reliqui ; veste
rugas Detlefsen.

xxxiv, 59, the improvements attributed tradition of the names attaching to

to Pythagoras of Rhegion. Introd. each figure would be carefully pre-
p. xxvii. served perhaps too there was an
;

57. 3- apud Marathona: on a wall attempt at characterization, so that

ofthe(r7-od7roiKiA?;(§ 59). The picture in a history of the development of
was by other writers to Mikon
ascribed painting Fanainos might pass as the
(Arrian, Anai. vii, 1 3, 5 Ailian, ittfi ; first to have essayed portraiture (In-
fomj' vii, 38 ; Sopatros, Sioip. f^ri;/*. i, trod. p. xxviii f.).

8), and may have been the work of both 6. Miltiaden: his name was not
painters, Wachsmuth, Stadt Athen ii, inscribed, but he was characterized
p. 503. Others again (see Ailian, loc. by his gesture of exhortation, Ais-
cit^ gave it to Polygnotos. Pausanias Chinese. Ktesifh. 186, &c., see Wachs-
in his description of the paintings of muth's fine criticism of the passage,
the Poikile, i, 15, names no artists. op. cit. p. 506, note 2. For the
For the latest reconstruction of the motive see the warrior on the gold
picture see Robert, Hall. Winckel- sheath in the Hermitage, Benndorf,
mannspr. xviii, 1895. Addenda. Gjolbaschi p. 157 fig. i/^z = ComJ)te
5. ioonioos duces: the year of .ff«»rf» 1864, pi. v, i.
tte battle being B. c. 490, and the Callimachum, Cynaegirum : Ail.
Stoa dating presumably from Kimon's loc. cit. roiis a/ifl rbv Kvyiycpov
recall in B.C. 457 (Furtwangler, ml -Emitjf^v re ical KaXXiixaxov,
Masterpieces, p. 41), there can be no cf. Wachsmuth, op. cit. p. 5iof. The
question of real portraiture ; but the omission of Epizelos in Pliny is
 /. PAINTING 103

discovered the wrinkles and the windings of drapery. Further- 57

more Panainos the brother of Pheidias painted the battle between P^nainos.
J^tctufc of
the Athenians and Persians at Marathon. So extensively were battle of
colours now used, so perfect had technique now become, that he ^'^^'^^'^o"-

is actually said to have given the real portraits of the commander

on both Kallimachos and Kynaigeiros among
sides, of Miltiades,
the Athenians, of Datis and Artaphernes among the barbarians.
Nay more, competitions for painters were instituted at Corinth 58
and Delphoi '^
in the time of Panainos, he '
when in the first contest ^'^^'^'^"S
competi-
Timagoras of Chalkis, who conquered
tried for the prize against tions.

him, as we know from an old epigram by Timagoras himself, at ^^^

^?
the Pythian games ; an evident proof that the chroniclers are of Chalkis.
wrong in their dates. Yet other painters became famous before
the ninetieth Olympiad [420-417 B.C. J, as for example Polygnotos Polygmtos
of Thasos, who first painted women with transparent garments "^ Thaws.
and gave them headdresses of various colours. This artist made
a first serious contribution to the development of painting by
opening the mouth, showing the teeth, and varying the stiff

archaic set of the features. He painted the picture now in the 59

Pompeius and formerly in front of his Council Chamber, -^^
gallery of
representmg a warrior armed with a shield, about whom people
warrior. ,11 . ,

argue as to whether he is ascending or descending. He also

curious. The heroes are mentioned 18. curiam : Gilbert, Rom. iii,

as an indivisible triad by Plutarch, p. numerous works of art

325 ;

Glor. Ath. 3, Diogenes Laert. i, 56. were collected by Pompeius in the

§ Corinthi ao Delphis i.e.
58. 9. : complex of buildings about his
at the Isthmian and Pythian festivals Theatre.
(JPythiis below) for contests be-
; in qua dubitatur: the warrior
tween painters cf. §§ 65, 72 and (perhaps Kapaneus, cf Benndorf, op.
Introd. p. Ixiv. cit. p. 190; pi. xxiv, A. 4 : Anth. Plan.
13. Polygnotus : son of the first iv, 106) was presumably on a ladder,
Aglaophon, and brother of Aristophon and it was difficult to tell whether he
(§§ 60, 138). was climbing up orcoming down again.
qui primus : introduces as usual, Robert, Hall. Winckelmannsprogr.
the artist's special contribution to the xviii, 1895, p. 67, suggests that
progress of his art, Introd. p. xxviii f. the tabula was the votive picture of
14. tralucida veste : Ailian, tioik. an apobates, of whom it was uncertain
iffT. iv, 3 i/iOTiW XeTTTc^TiyTas; Lucian, whether he was stepping up to, or
fXxlyvfi 7 «
^ii X(TTT6TaTov k^fipyaa- down from, his chariot; for the subject
fi4vr]v (of the drapery of Kassandra in see the beautiful monochrome picture
the Nekuia). on white marble slab (Naples, Helbig,
§ 59. 17. portiou Pompei: in Wandgemalde 1405''), published by
the immediate vicinity of Pompeius's Robert, Hall. Winckelmannsprogr.
theatre. xix, 1895.
 I04 C. PLINII SECUNDI NAT. HIST. XXXV
Delphis aedem pinxit, hie et Athenis porticum quae Poecile
vocatur gratuito, cum partem eius Micon mercede pingeret.
vel maior huic auctoritas, siquidem Amphictyones, quod
est publicum Graeciae concilium, hospitia ei gratuita de-
crevere. fuit et alius Micon qui minoris cognomine distin- 5

guitur, cuius Timarete et ipsa pinxit.

filia

60 LXXXX autem olympiade fuere Aglaophon, Cephiso-

dorus, Erillus, Evenor pater Parrhasi et praeceptor maximi
pictoris de quo suis annis dicemus, omnes iam inlustres, non
tamen in quibus haerere expositio debeat festinans ad lumina 10

artis in quibus primus refulsit Apollodorus Atheniensis

LXXXXIII hie primus species exprimere
olympiade.
primusque gloriam penicillo iure contulit. eius est
instituit

sacerdos adorans et Aiax fulmine incensus, quae Pergami

1. Delphis aedem : i. e. the (The vaoi here referred to are those of

A.eaxv or covered portico where Theseus and the Anakes, Harpokra-
people met to converse. The pictures, tion s. v. VloKv'^vono^^
which included an llioupersis and a partem eius Mieon: he painted
Nekuia are described in Paus. x, 25- the battle of Theseus and the Ama-
31. For modern reconstructions see zons, Paus. i, 15, 2 ; Arrian vii, 13, 5,
Robert, ffall. Wincltelmannspr. xvi, where few will agree with Graef {ap.
1892 and xvii, 1893. Pauly s. V. Amazonen p. 1778) in
Poeoile where next to Mikon's
: defending the old reading Kifiaii' ; cf.

Amazonomachia (below) Polygnotos Robert, 47, note 2. Mikon

loc. cit. p.

painted an llioupersis. Next to was also a sculptor, xxxiv, 88, where

this again came the Marathon by see note.
Mikon and Panainos (above). For 3. Amphictyones : the reward
the distribution of the pictures see they gave was more probably for the
Benndorf,op. cit. p. 156, and the new decoration of the l^iaxt ; while for
arrangement proposed by Robert in his work at Athens he received the
Hall. Winckelmannspr. xviii, 1895, Attic citizenship, Harpokration, /. c.

p. 44. The pictures, as appears 6. Timarete : below, § 147.

from Synnesios, Ep. 135 (= Overb. 5 60. 7. LXXXX autem Olymp.
Schriftquell.1057), were not mural as in the case of the sculptors (xxxiv,
paintings in the ordinary sense, but 49), the first painter in each Olym-
were painted on wooden boards or piad is dated from a work brought
panels ; cf. Wachsmuth, Stadt Athen, into connexion with an important
ii, p. 504. historical event; about this central
2. gratuito cf. Melanthios (cf. : date his contemporaries, whether
Wilamowitz, Arist. u. Athen. p. 287, older or younger, are roughly grouped,
n. 37) ap. Plutarch, Kimon, iv, p. 431 : cf. Robert, ArcA. March, p. 66 f.

auTou 7(i/) Za.Tikvo.icri Bvtiv vaov"* Aglaophon : son of Aristophon

(below, § 138), andaccordinglynephew
KexpoTriav Kdfffj.tjff' fj^Bioiv of Polygnotos (Plato, Gorg. p. 448 B)
aperais. and grandson of the first Aglaophon.
 I. PAINTING los

decorated the temple at Delphoi and at Athens the Painted Portico He paints
the Lesche
[o-Toa TToiKi'Xr)], as it is Called. For this he took, no money, while at Delphoi,
Mikon, to whom part of the work was entrusted, accepted pay- and at
Athens
ment. The position he thus won for himself was all the greater, the Stoa
so much so that the Amphyktionic council, or national assembly Poikile.
Mikon,
of Hellas, decreed that he should be a public guest. There was Mikon the
another Mikon, distinguished as '
the younger,' whose daughter Younger.
Timarete was also an artist.

In the ninetieth Olympiad [420-417 B.C.] lived Aglaophon, 60

Great
\Kephisodoros, -^Erillos and Evenor, the father and master of masters
the great artist Parrhasios, whom I shall mention in due time. of the
ninetieth
They were all painters of note, yet they need not prevent my Olympiad.
hastening on to the true luminaries of art, among whom the
first to shine was Apollodoros of Athens in the ninety-third Apollo-
doros of
Olympiad [408-405 b.c.J. He was the first to give his figures Athens.

the appearance of reality, and he first bestowed true glory on

the brush. He painted a priest in prayer, and an Aias struck His works
1. Priest,
by lightning, which is still to be seen at Pergamon. No picture
2. Aias.

His date (Robert, loc. cit.') seems the <p0opd. Kcd a.Tr6xpoj(TL9 afcias — (an
determined by his picture of Olympias advance also attributed to Zeuxis,
and Pythias crowning Allcibiades Quinct. xii, Jo, 4 prior luminum
(Satyros ap. Athen. xii, p. 534 D), umbrarumque invenit rationem) i. e.

painted to commemorate the chariot he showed how to render —not the

victories of Ol. 90 (Grote, Greece, v, shadow cast, but the graduated
p. 456 f.) or 01. 91 (Rutgers) ; see passage from light to shadow on
G. H. Forster, Die Olympischen curved surfaces (Lange, Fremstilling,
Sieger, i, p. 20 f. The companion p. 465 ; cf. above, tonon and harmogen
picture of Alkibiades in the lap of in § 29). In this connexion may be
Nemea was by Aristophon, Hut. noted the attempt at expressing by
Alkib. xvi, Pans, i, 22, 6 (artist shadow the curving of surfaces, on
imnamed). Satyros, loc. cit., attributes two interesting polychrome lekythoi
it however to the son. of the Berlin Museum {Cat. 26S4,
8. Evenor, pater Parrhasi Paus. : 2685 — the latter published in facsimile

i, 28, i. suis annis below, § 67. by Winter, Winckelmannsprogr. 1895,

11. ApollodoTUS : Overb. Schrift- cf id. p. 9).

quell. 1641-1646. 14. saoerdos adorans : votive

12. primus species primus- . . . portrait ; cf. the sacerdos adstante
que gloriam belongs to the series
: puero of Parrhasius (§ 70) the sup-
of Xenokratic art judgements begun in plicans paene cum voce of Aristeides
§§ 15-16; 56-58: cf Introd. p. xxix. (§ 99)-
species evidently the vague trans-
: Aiax fulmine incensus : Verg.
lation of some Greek technical term ;
Aen. i, 43 ff. ipsa (sc. Minerva^
cf. Jahn, Kunsturtheile, p. 138. lovis rapidum iaculata e nubibus
The discovery attributed to Apollo- ignem \
disiecitque rates, evertitque
doros by Plutarch [Glor. Ath. ii) was aequora ventis \
ilium expirantem
 io6 C. PLINII SECUNDI NAT. HIST. XXXV
spectatur hodie. neque ante eum tabula ullius ostenditur
61 quae teneat oculos. ab hoc artis fores apertas Zeuxis
Heracleotes intravit olympiadis anno quarto, LXXXXV
audentemque iam aliquid penicillum de hoc enim adhuc—
loquamur — ad magnam gloriam perduxit, a quibusdam falso
in LXXXVIIII
olympiade positus. confuisse necesse est
Demophilum et Nesea Thasium, quoniam
Himeraeum
62 utrius eorum discipulus fuerit ambigitur. in eum Apollo-

dorus supra scriptus versum fecit, artem ipsis ablatam

Zeuxim ferre secum. opes quoque tantas adquisivit ut in
ostentationem earum Olympiae aureis litteris in palliorum
tesseris intextum nomen suum ostentaret. postea donare

6. positus. confuisse] Traube ;

positus cum fuisse (faisset omnes fracier
Bamb.) codd. \ positus, cum quo fuisse Ritschl, Detlefsen.

transfixo pectore Jlammas \

turbine p. xxvii) . Therefore the words must
corripuit scopuloque infixii acuto ; cf. represent some closely similar Greek
Odyss. iv, 499 ff. [The fulmine in- expression ; for an analogous para-
census of the subject not (as Furt- phrase cf. Add. to note on xxxiv, 81.

wangler, Plinius, p. 53 suggests) of 3. Heracleotes Plato, Protag.

:

the picture, in which case Pliny would 318 B 6 veaviaKos vvv viwoTL i-ntb-qnitiv

use tabula, cf. below, § 69. — H. L. U.] Z6u£i7r7roso'Hpa«\€ctiT);s(on the identity

Pergami : Introd. p. xc. of Zeuxis and Zeuxippos see Fick,
§ 61. 2. fores apertas ; [ii, 31 Griech. Personennamen, pp. 35, 132).
rerum fores aperuisse Anaximander The dialogue being imagined as taking
. .traditur the metaphor is common
. ; place in B. c. 424, it is impossible to
to Silver Latin, cf. Plin. Epist. i, 1 8, 4 reconcile this mention of Zeuxis with
ilia iamiam famae {mihi)
{actio) the tradition that he was bom at
patefecit. Because a similar expression Herakleia (founded B.C. 432), except
occurs, Babrios, Proem. 1. 29, there is by either holding Plato guilty of an
no need to follow Schneidewin, Rhein. anachronism (and likewise Xenophon,
Mus. vii (1850), p. 479, in thinking who alludes to Z. in the 'Banquet,'
that Pliny's words go back to a Greek of which the scene is laid in B. c. 422),
metrical epigram, cf. also Miiller, or supposing with Robert (Hall.
Stil, p. H. L. U.]
126 At the
ff. Winckelmannsprogr. xix, 1895, p. 18),
same words exactly express
time, the that the parents of Zeuxis removed as
the position which the Greek writers colonists to Herakleia when he was
(Introd. p. xxix) assigned to Apollo- already a boy of nine or ten. The artist
doros at the opening of a series of was evidently at home in Lower Italy
painters who, masters of their art, (he paints for Agrigentum, Kroton,
each brought towards the final per- &c.) ; it is out of the question to
fection to be attained by Apelles (§ 79) assume that he was bom at the older
a definite contribution : ApoUodoros Pontic Herakleia. Addenda.
among the painters is the counterpart 01. 95, anno quarto the occa- :

of Pheidias among the statuaries, sion for the date assigned to him here
Robert, Arch. March, p. 67 f. (Introd. is unknown. Since the '
Alkmena,'
 /. PAINTING 107

by any of his predecessors really rivets the gaze. It was he who ai

opened the gates of art through which Zeuxis of Herakleia Zeuxis of
Herakleia,
passed in the fourth year of the ninety-fifth Olympiad [397 B.C.],
giving to the painter's brush (for of the brush alone I speak as
yet) the full glory to which it already aspired. Zeuxis is erro-
neously placed by some in Olympiad [424-
the eighty-ninth
421 B.C.] ; it is evident that \ Demophilos of Himera and \Neseus taught by
Demophilos
of Thasos were among his contemporaries, seeing that there a or Neseus. is

controversy as to which of the two was his master. In an epigram 62

written againsthim by the Apollodoros whom I mentioned above,
it is Zeuxis bore away with him the art he had stolen
said that '

from his masters.' He amassed great wealth, and in order to His wealth,
make a parade of it at Olympia he showed his name woven in luxury,
and pride.
golden letters into the embroideries of his garments. Later on

which belongs to his later period (see Zeuxis very possibly placed himself
below Urlichs' note on posiea), was under this master, on his arrival in
yet painted previous to B.C. 406, in Athens.
which year Agrigentum was destroyed § 62. 9. ipsis sc. Demophilo et
;

by the Carthaginians, Zeuxis must Nesea (Traube). Benndorf, Epigr. p.

have been an artist of note long 30, and Jahn, Kleine Beitrdge, p. 284,
before B. C. 398 ; cf. also the explain it as sibi sociisque, which is
passage from Plato quoted above. impossible.
On the other hand the ascription to 10. in ostentationem : the story
Z. of the 'Epws ... yeypafjLfjievos of the gorgeous robes worn by Zeuxis
eX^^ <XTe(pavov dvB^fioJv, Ar. Acharn. has its counterpart in the gorgeous

991 (play produced B. C. 425), rests robes of his rival Parrhasios (Athen.
only on the doubtful authority of the xii, 643 C —D), Introd. p. Ivii.

scholia. 12. tesseris intextum : the best

4. adhiuo : i. c. in opposition to explanation seems that of Urlichs,
encaustic painting in | 149. Chrest. p. 345 ; he takes the tesserae
5. falso : Quinct. xii, 10, 4, dates to have been small squares (of stuff)
Zeuxis, and Parrhasios circa Pelopon- upon which the name was embroidered,
nesia ambo tempera, from the fact and quotes Vopiscus, Carinus 30
that Xenophon {Memorab. iii, 10, i) inscriptum est adhuc in choraulae
records a conversation between Par- pallio Tyrianthino Messalae nomen
rhasios and Sokrates. The earlier uxoris (ed. H. Peter) ; see in Casau-
date was the correct one. bon's edition, vol. ii, p. 851 ", Sau-
7. DemopMlum from : distinct maise's note, who in reference to the

the Damophilos (below, § 154, where Plinian passage explains tesserae =

see note) who decorated the temple of KV0OI, and quotes Hesychius {s.v.

Ceres. Kv^os) ol ^a\aiMVLOL Kiyovffi kv^ov

Himeraeum : 'I/iepo on the N. TO Tov t/jLaTtov ffrjfietov,

coast of Sicily. postea : [i. e. in his latter period;

Thasium ; the ethnic suggests that the Alkmena and the Pan must there-
Neseus belonged to the circle of fore be reckoned among the artist's
Polygnotos (§ 58) of Thasos. Robert, later works.— H. L. U.]
loc. cii., points out that the young
 io8 C. PLINII SECUNDI NAT. HIST. XXXV
opera sua instituit, quod nullo pretio satis digno permutari
posse diceret, sicuti Alcmenam Agragentinis, Pana Archelao.
63 fecit et Penelopen in qua pinxisse mores videtur, et athletam,
adeoque versum subscriberet celebrem
in illo sibi placuit ut
ex CO, invisurum aliquem facilius quam imitaturum. magni- 5

ficus est et luppiter eius in throno adstantibus diis et

Hercules infans dracones strangulans Alcmena matre coram
64 pavente et Amphitryone. reprehenditur tamen ceu grandior
in capitibus articulisque, alioqui tantus diligentia ut Agra-
gentinis facturus tabulam quam in templo lunonis Laciniae 10

publice dicarent inspexerit virgines eorum nudas et quinque

elegerit, ut quod in quaque laudatissimum esset pictura
redderet. pinxit et monochromata ex albo. aequales eius
et aemuli fuere Timanthes, Androcydes, Eupompus, Parrha-
65 sius. descendisse hie in certamen cum Zeuxide traditur, et 15

cum ille detulisset uvas pictas tanto successu ut in scaenam

2. Alcmenam : probably iden- cf. Preger, Inscript. Gr. Metr. 193.

tical with the picture in § 63. Introd. p. Ivii.

Archelao : for whom Zeuxis de- luppiter

6. . . . Amphitryone :

corated the palace at Pella, Ailian the whole subject is preserved on a

TTOin. ItTT. xiv, 17. vase-painting in the Brit. Mus. A. S ;

3. mores : in the sense given to it Murray, Class. Rev. 1888, p. 327; id.
by Horace, £p. i, i, 57 est animus Handb. of Greek Arch. p. 376. Add.
tibi, sunt mores. Some commentators §64. 8. reprehenditur tameu: the
however (chief among them Winckel- toz««» presupposes a sentence of praise,
mann), have understood mores to be which has fallen out. Quinctilian (xii,

a translation of the Greek ^^os, where- 10, 5) membris

says of Zeuxis plus
by endless difficulties have arisen, corporis dedit but praises him on
. . .

seeing that ^flos was precisely the the same grounds that Pliny blames
quality in which according to Aristotle,
, him, another instance of conflicting
Poet. 6, II, Zeuxis was deficient. But criticisms in antiquity; cf. note on
^flos in its strictly philosophical sense Kallimachos in xxxiv, 92.
had no precise Latin equivalent, as 9. articulisque literally : the
we learn from Quinct. vi, 2, 8, and joints (knuckles, wrists, ankles, &c.)
from Pliny himself (below, § 98, and so by extension the extremities
where see note) cf. Brunn, K. G. ; see Robert, Arch. March, p. 76, Hall.
ii, p. 86 i.
; Jahn, Kunsturtheile, Winckelmannsprogr. xix, 1895, p. 25.
p. 105 f. An almost identical criticism is passed
5. invisurum ; /Min^ireTai tis upon Euphranor in § 128. Zeuxis is
lioXKov i) fju/jiiiffeTai ; the proverb is represented in the same relation to
attnbuted by Plntarch {Glor. Ath. 2), Apollodoros as Polykleitos xxxiv, 56
and Hesychios to Apollodoros. The to Pheidias (ib. 54). On the Xeno-
saying recurs from early times in a kratic authorship see Introd. p. xxvii.
variety of forms Bergk, Lyr. Graec. ; Agragentinis : from Cic. {Invent.
ii, p. 318, Benndorf, Efigr. p. 27, n. 3; ii, I, i) it appears that this picture
 /. PAINTING 109

he began to make presents of his pictures, saying that they were

beyond all price. In this way he gave his Alkmena to the city of His gifts
the
Agrigentum and his Pan to Archelaos. He also painted a Pene- ofAlkmena' '

lope, in whom he embodied virtue's self, and an athlete with whom and the
'Pan:
he was so well pleased that he wrote beneath it the line thence-
63
forward famous : 'Another may carp more easily than he may copy.'
He also painted a superb Zeus enthroned amid the assembled gods,
with the infant Herakles strangling the snakes in presence of his
trembling mother Alkmena and of Amphitryon. Zeuxis is criti- 64
For the
cized however as having exaggerated the heads and extremities of temple
his figures ; for the rest he bestowed such minute pains upon his of Hera
Lakinia
work that before painting for the people of Agrigentum a picture he paints
to be dedicated in the temple of Hera on the Lakinian pro- a picture
takenfrom
montory, he inspected the maidens of the city naked, and chose the five
out five, whose peculiar beauties he proposed to reproduce in his most
beauteous
picture. He also painted monochromes in white. Ttmanthes, maidens
Androkydes, \Eupompos and Parrhasios were contemporaries of the city.
and rivals of Zeuxis. The story runs that Parrhasios and Zeuxis 65
His con-
is identical with the famous Helena ground. Of the latter technique we tempora-
(below, § 66). have imitations in the pictures painted ries.

10. luuonis Laciniae Cicero, : in red colour on the white marble

loc. cit., says the Helena was painted slabs in Naples. Semper's theory
for the Krotoniates ; so too Dionysios {Stil, i, p. 470, ed. i) that these had
H. (^de veter. script, cens. i), and this once been polychrome pictures in
is doubtless correct, for as Freeman encaustic, whose colours were destroyed
remarks {Sicily, vol. ii, p. 402, note by the heat of the lava, has been dis-
3) ' the Lakinian Hera, at home at proved by Helbig, Wandgemdlde,
Kroton, would have no place at 170''; ci.'RohtTt,Hall.Winckelmanns-
Akragas (cf. Roscher, i, p. 2086).
' progr. xix, 1895, p. 9 on the contrary, ;

11. inspexerit virgines Lange : the slabs admirably prove the practice
{J^remstilling, p. 354 n.) points out of painting in monochrome.
that the anecdote gives concrete ex- 14. Timanthes : below, | 73.
pression to the saying that the best Androoydes : of Kyzikos ; ac-
parts must be taken ' out of divers cording to Plutarch {Pel. xxv) he
Faces, to make one Excellent,' cf. painted at the time of the liberation of
Xenoph. Mem. iii, 10, 2 ; Cicero and the Kadmeia (B.C. 379) the picture of

Dionysios (//. cc.') incorporate the a battle in which both Epameinondas

axiom with the anecdote which and Pelopidas had been engaged i. e. ;

illustrates See Introd. p. Ixi f.

it. probably the battle mentioned Pel. iv
13. ex albo i. e. on a dark ground,
: (Brunn, X. G. ii, p. 1 24). From Athen.
perhaps in imitation of marble reliefs viii, p. 341 A, we learn that he was cele-
(cf Bliimner, Technol. iv, p. 420, note brated for his accurate painting offish.
4), whereas monochrome paintings Eupompus : below, § 75.
were usually carried out in red {cinna- § 65. 16. uvas pictas : cf. below,
bar, minium, rubrica, sinopis, Plin. §§66, 15s; above, § 23.
xxxiii, 117), presumably on a white ut in scaenam : i. e. the pictures
 no C. PLINII SECUNDI NAT. HIST. XXXV
aves advolarent, ipse detuHsse linteum pictum ita veritate

repraesentata ut Zeuxis alitum iudicio tumens flagitaret

tandem remoto linteo ostendi picturam atque intellecto

errore concederet palmam ingenuo pudore, quoniam ipse
66 volucres fefellisset, Parrhasius autem se artificem. fertur et 5

postea Zeuxis pinxisse puerum uvas ferentem, ad quas cum

advolassent aves, eadem ingenuitate processit iratus operi
et dixit uvas melius pinxi quam puerum, nam si et hoc
:

consummassem, aves timere debuerant. fecit et figlina opera,

quae sola in Ambracia relicta sunt, cum inde Musas Fulvius lo

Nobilior Romam transferret. Zeuxidis manu Romae Helena

est in Philippi porticibus, et in Concordiae delubro Marsyas
67 religatus. Parrhasius Ephesi natus et ipse multa contulit.
primus symmetrian picturae dedit, primus argutias voltus,
elegantiam capilli, venustatem oris, confessione artificum in 15

lineis extremis palmam adeptus. haec est picturae summa

were exhibited in the theatre, and were dedicated by Fulvius in the

hung on the scaenae frons, or front Temple of Hercules Musarum, with
wall of the stage-buildings. a statue of Herakles as Hlovaa-
§ 66. 7. pinxisse puerum: a yeTTjs (see in this connexion Eumenius
mere douhlette of the preceding anec- of Autun pro reslaurandis scholis,
dote; the story is also told Senec. vii, in Paneg. Lai. ed. Baehrens,
Rhet. Controv. li,
5 (34), 27. p. 121; cf also Ovid, Fasti, vi,

9. flglina opera: Pyrrhus had 804). The Muses are figured on

probably inherited these works as king the reverse of the coins of Q. Pom-
of Macedonia. Zeuxis, it will be re- ponius Musa (reproduced and fully
membered, had worked for King discussed by O. Bie, Die Musen in d.
Archelaos, above, § 62. antiken Kunst, pp. 24-44). The
10. sola . . . reliota sunt : doubt- tragic Muse is preserved in a statuette
less because these painted terra-cottas of the Vatican (Clarac, 507, 1013),
were architectural decorations, and while a head from Frascati in the Brit.
could not be removed without injury Mus.(Friederichs-Wolters, 1445) seems
to the buildings; Liv. xxxviii, 9, 13 to reproduce the head of another
signa aenea marmoreaque et tabulae cf. Amelung, Basis des Praxiteles,
pictae, guibus omatior Ambracia quia p. 44. For the one extant basis,
regia ibi Pyrrhi fiierat sublaia . . . see Bull. d. Inst. 1869, p. 3 ff. —The
omnia avectaque ; nihil praeterea tac- temple was surrounded by t\i.eporticus
tum molatumve, cf. Raoul-Rochette, Philippi, and was close to the ^orii-
Peiniures, p. 51. cus Octaviae on the W. side of the
^mbraoia: the capital of King Circus Flaminius.
Pyrrhus : for its art treasures cf. II. Helena: the mention of the
Polyb. xxii, 13, 9; Liv. loc. cit. Muses which Fulvius brought to
Musas : these statues, which pro- Rome, suggests to Pliny two more
bably dated from the reign of Pyrrhus, works by Zeuxis, noted by him as
 I. PAINTING III

entered into competition,' Zeuxis exhibiting a picture of some Comfeii-

grapes, so true to nature that the birds flew up to the wall of the '^^^^'
stage. Parrhasios then displayed a picture of a linen curtain, Zeuxis and
P"'^^''"--
realistic to such a degree that Zeuxis, elated by the verdict of the
birds, cried out that now at last his rival must draw the curtain The '.
cur-
i

and show his picture.

' On discovering° his mistake he surrendered f?*" """i
the grapes.
the prize to Parrhasios, admitting candidly that he had deceived
the birds, while Parrhasios had deluded^ himself, a painter. After 66
this we boy carrying grapes, and when Boy with
learn that Zeuxis painted a
the birds flew down to settle on them, he was vexed with his own S>''^f'^-
work, and came forward saying, with like frankness, I have '

painted the grapes better than the boy, for had been perfectly I

successful with the latter, the birds must have been afraid.' He
also modelled certain terra-cottas which were the only works of art
left inAmbrakia when Fulvius Nobilior brought the statues of the
Muses to Rome. The paintings in Rome by the hand of Zeuxis Helen.
are : the Helen in the gallery of Philip and the bound Marsyas ^^"^^"^
in the temple of Concord. Parrhasios, a native of Ephesos, also 67
made great contributions to the progress of art. He first gave P^^'^'^<^-

painting symmetry, and added vivacity to the features, daintiness

to the hair and comeliness to the mouth, while by the verdict of
artists he is unrivalled in the rendering of outline. This is the

being also in Rome. In making relief of a marble vase at Naples,

this addition he forgets that he A. Z. 1869, taf. 18.

had already mentioned the Helena, §67. 13. Ephesi natus: Strabo
when quoting from his main authority. xiv, p. 642 ; Anth. App. lix, 2.
His oversight is, however, the easier 14. primus symmetrian pict.
to explain as in the previous passage dedit : his achievement as a painter
the name of the picture had not been marks a similar advance upon that of
given. Zeuxis (§ 64) to Myron's (xxxiv, 57)
12. Philippi portioibns ; built by upon that of Polykleitos among the
L. Marcius Philippus, the step-father statuaries, Introd. p. xxvii.

of Augustus, round the T. Hercules argutias note on xxxiv, 65.

:

Musarum (above); Suet. Aug. 29; oonfessione artifioum refers

15. :

Ovid, i^ffirfi, vi, 801 ; cf. Gilbert, iJtfm. to the artists and art-historians Anti-
iii, p. 248. gonos and Xenokrates (below, § 68)
Concordiae delubro: note on cf. artifices qui condidere haec in
xxxvi, 73. xxxiv, 68, where the same two writers
Marsyas religatus : the repre- are meant, Introd. p. xxxvii.
sentations of Marsyas bound are in lineis cf. Quinct. xii, 10, 4
;

all by Jessen ap. Roscher, ii,

cited examinasse {Parrh.) subtilius lineas
2450 ff. None, however, can be traced traditur.
back vrith any certainty to Zeuxis's 16. haeo est pioturae . . . ooou.1-

picture. A reminiscence of the whole tat : the passage is of unique aesthetic

composition perchance survives in the interest (Introd. p. xxxiv), it expresses
 112 C. PLINII SECUNDI NAT. HIST. XXXV
suptilitas. corpora enim pingere et media rerum est quidem
magni operis sed in quo multi gloriam tulerint, extrema cor-
porum facere et desinentis picturae modum includere rarum
68 in successu artis invenitur. ambire enim se ipsa debet ex-
tremitas et sic desinere ut promittat alia post se ostendatque 5

etiam quae occultat. hanc ei gloriam concessere Antigonus

et Xenocrates qui de pictura scripsere, praedicantes quoque,
non solum confitentes. et alia multa graphidis vestigia
exstant in tabulis ac membranis eius, ex quibus proficere
dicuntur artifices, minor tamen videtur sibi comparatus in 10
69 mediis corporibus exprimendis. demon Atheniensium pinxit
argumento quoque ingenioso. ostendebat namque varium,
iracundum iniustum inconstantem, eundem exorabilem
clementem misericordem, gloriosum, excelsum humilem,
ferocem fugacemque et omnia pariter. idem pinxit et 15
Thesea, quae Romae in Capitolio fuit, et navarchum thora-
catum, et in una tabula, quae est Rhodi, Meleagrum, Hercu-
lem, Persea, haec ibi ter fulmine ambusta neque obliterata
70 hoc ipso miraculum auget. pinxit et archigallum, quam

5. alia sponse (sponte e correction^ Bamb. {serifturn erat alias pos se ; an

alias post se ? Traube).

the dominant effort of painting to trand {loc. cii.) translates il faut en

'

represent objects not only as relieved effet que les contours senvelopfent
from the flat, but as occupying space. eux-mSmes' In other words, the con-
It is suggestively discussed by Ber- tours must be so drawn as to appear
trand, Etudes, p. 65 ff. to clasp what is behind them.
1. media rerum : i. e. the model- § 68. 5.ut promittat alia post
ling of the particular face chosen for se : the meaning is so clear, the
presentation, as it lies between its aesthetic lesson so true, that I have
bounding lines, without any necessary decided on keeping Detlefsen's read-
suggestion of the parts which are ing. but not without hesitation, for the
concealed from view. MSS.are in favour of a/zaj(sc.«.«//-fmj-
2. extrema . . . modum inclu- tales)post se—a. reading recommended
dere: the subtle meaning conveyed by Dr. Traube. The meaning of
by these words is more easily felt this alternative reading would be in :

than translated. The idea is that the any object, the face which the artist
supreme difficulty and consequently chooses for presentation forms, where
the supreme achievement of painting it leaves off, a line against the back-
cojjsists in bringing the painted out- ground. But another view of the
line{modus desinentis picturae) into same object would have afforded a
agreement with the contour of the different system of bounding lines, of
f^gare. extremitates, and as any object may
4. ambire . . . extremitas : Ber- be viewed from an endless number
 /. PAINTING "3
highest subtlety attainable in painting. Merely to paint a figure
in relief no doubt a great achievement, yet many have succeeded
is

thus far. But where an artist is rarely successful is in finding an

outline which shall express the contours of the figure. For the 68
contour should appear to fold back, and so enclose the object
as to give assurance of the parts behind, thus clearly suggesting
even what it conceals. Preeminence in this respect is con-
ceded to Parrhasios by Antigonos and Xenokrates, writers on Judgement
painting, who indeed not only concede but insist upon it. Many "f ^"'^o-
other traces of his draughtmanship remain, both in pictures and Xeno-
on parchments, which are said to be instructive to artists. Still, '^™'*^-
if tried by his own standard, he fails in modelling. He painted 69
an ingenious personification of the Athenian 'Demos,' discovering His works.
it as fickle, passionate, unjust, changeable, yet exorable, com-
passionate and pitiful, boastful, proud and humble, bold and
cowardly, in a word, everything at once. He also painted
the Theseus formerly in the Capitol at Rome, an admiral in
armour, and Meleager, Herakles and Perseus in a picture at
Rhodes, where it has thrice been set on fire by lightning
without being destroyed, a miracle which increases our wonder.

of points, there is no limit to its bound- 17. quae est Bhodi : Mucianus
ing lines. It therefore becomes the is therefore presumably the authority
business of the great artist, to give here followed by Pliny, Introd. p.
assurance, although working on the Ixxxvi f,

flat,of these hidden lines. This notion Meleagrum, Heroulem, Persea

of fugitive, pursuant outlines, though grouped in a 'Santa conversazione,'
somewhat rhetorical and over-subti- such as were becoming popular in
lized, would also convey its peculiar the period of Parrhasios they had;

truth. little mythological significance, save

9. tabulls : either small tablets, as presenting, pleasantly grouped to-
containing the artist's sketches for his gether, two or more of the popular
large pictures, or, if in the usual sense national gods or heroes cf. the ;

of easel pictures, we must understand '

Aineias, Kastor and Polydeukes
these tabulae to have been left un- in § 71. (Robert, Bild u. Lied,
finished, with the design merely P- -IS-)
sketched in. 18. ter fulmine ambusta : the

J 69. II. demon Atheniensium: stress laid on the miraculous circum-

cf. thesubject by Euphranor,
same stance confirms the authorship of
Pans, below note on § 129.
i, 3, 3 ; Mucianus, Introd. loc. cit.

16. Thesea the picture was ori- : §70. 19. arohigallnm: literally

ginally in Athens (Plut. Thes. iv), the word would apply to the chief of
whence it may have beea brought by the priests of Kybele. But the follow-
Sulla. ing anecdote shows that the picture
fait : i. e. it was destroyed by the fire more probably represented the figure
of B.C. 70; cf. xxxiii, 154; xxxiv, 38. of a nude boy, surnamed the archi-
 114 C. PLINII SECUNDI NAT. HIST. XXXV
picturam amavit Tiberius princeps atque, ut auctor est
Deculo, HS. [LX] aestimatam cubiculo suo inclusit. pinxit
etThressam nutricem infantemque in manibus eius et Philis-
cum et Liberum patrem adstante Virtute, et pueros duos in
quibus spectatur securitas et aetatis simplicitas, item sacer- 5

71 dotem adstante puero cum acerra et corona, sunt et duae

picturae eius nobilissimae, hoplites in certamine ita decurrens
ut sudare videatur, alter arma deponens ut anhelare sentia-
tur. laudantur et Aeneas Castorque ac Pollux in eadem
tabula, item Telephus, Achilles, Agamemnon, Ulixes. fecun- 10
dus artifex, sed quo nemo insolentius usus sit gloria artis,
namque et cognomina usurpavit habrodiaetum se appellando
aliisque versibus principem artis et earn ab se consummatam,
super omnia Apollinis se radice ortum et Herculem, qui est
Lindi, talem a se pictum qualem saepe in quiete vidisset. 15

72 ergo magnis suffragiis superatus a Timanthe Sami in Aiace

armorumque iudicio herois nomine se moleste ferre dicebat
quod iterum ab indigno victus esset. pinxit et minoribus
tabellis libidines, eo genere petulantis ioci se reficiens.

gallus, owing to some physical pecu- Philiscum a poet of the Middle

;

liarity (cf. Klein, Arch. Ep. Mitth. Comedy ; Kock, Fragm. Com. Graec.
xii, 1888, p. 123); perhaps therefore vol. ii, p. 443.
the picture should be reckoned among 5. saoerdotem adstante puero
the libidines mentioned below in § 72. cf. above, note on | 60.
I. amavit Tiberius cf. the :
§ 71. 6. duae pioturae apparently :

similar story told of the Apoxyomenos composed as pehdants; the descrip-

of Lysippos, xxxiv, § 62. tion is epigrammatic, Benndorf, Epi-
3. Thressam nutrioem : a votive gramm. p. 55, Introd. p. Ixxi.
portrait put up in gratitude for the 9. Aeneas Castorque ao Pollux:
services of a favourite nurse ; cf. Furt- for thisgroup of heroes, who have
wangler, Darnauszieher, p. 95, or a no mythological connexion with one
grave picture; cf. Anth. Pal. vii, another, cf. above, note on § 69.
663: Telephus,
10. Achilles, Aga-
'O fuxKbs t6S' 6TCi/^c Ta 0petffaq. memnon, Ulixes : i. c. a picture re-
MijSeios TO livdfi' eirl to oBS, k^ttc- presenting the healing of Telephos by
'YpaJpe KKiiras. the rust from the sword of Achilles
e^€t rav \apiv d yvvci avr exeivojv (xxxiv, 152), in presence of Agamem-
Siv Tov Koipov t6pi\p^. trvp.' Sjv It: non and of Odysseus. Robert {_Bild.
XPH2IMA 7-fXEuT?. u. Lied. p. 35) conjectures the picture
From pinxit et Thr. nuir. down to et to have been inspired by the lost play
corona we seem to have part of the of Euripides ; but Vogel {Scenen
old account of Parrhasios by Xeno- Euripid. Trag. in gr. Vasengemdlden,
krates; Miinzer, op. cit. p. 515; cf. p. 18) rightly points out that Euripi-
Introd. p. xxvii. des had assigned too marked a part
 I. PAINTING 115

He also painted a priest of Kybele : a picture of which the 70

Emperor Tiberius was enamoured, and which, according to
Deculo, although valued at 6,000,000 sesterces (;!^S 2,500 circ), he
placed in his private apartments. Furthermore he painted a
Thrakian nurse with an infant in her arms ; a portrait of Philiskos,
Dionysos by the side of Virtue, two boys whose features express
the confidence and the simplicity of their age, and a priest with
a boy at his side holding a censer and a wreath. Two other 71
picture(s by him are most famous, a hoplite in a race who seems to
sweat as he runs, and a hoplite laying aside his arms, whose
labouring breath we seem to hear. His picture of Aineias, Kastor
and Polydeukes is praised, so is his Telephos with Achilles, Aga-
memnon and Odysseus. He was a prolific artist, but carried his His luxury
success with an arrogance that none have equalled he called ^^^ ;

himself djipoUaiTos [the luxurious] and said in another epigram \ /

that he was the prince of painting, that he had brought it to the -\\

highest point of perfection, and more than all that he was of the /

seed of Apollo, and had painted the Herakles at Lindos precisely Herakhsat
as he had often seen him in sleep. Hence it was that when he ,^3
was defeated by a large majority of votes in a competition with Competi-
Timanthes at Samos, the subject of his picture being Aias and ^^-^^^^^^
the award of the arms, he said in the name of the hero that he
was grieved at being worsted a second time by an unworthy rival.

He also painted small pictures of licentious subjects, seeking

in the action to Klytaimnestra, for naios.

her to have been left out in a picture 15. talem . . . pictum : Athen. xii,

taken straight from his drama. Vogel 543F = ^«/,4. y^//. 61 =Bergk,p. 321,
therefore points to the Telephos of 636, 3 these verses were probably in-
;

Aischylos as the source of Parrhasios' scribed on the picture cf. the epigram ;

inspiration. wliich Parrhasios composed for his

12. habrodiaetum from the epi- : picture of Hermes, Themistios Orat.
gram preserved Ath. xii, p. 543 D, ii, p. 34 (Dindorf).
-.Anthol. App. 69 = Bergk. L. G. ii, § 72. 16. a Timanthe : the name of

pp. 320, 635, i; cf. O. Jahn, Kleine Parrhasios' rival is given only by Pliny
Beitrage, p. 286 ff. ; Introd. p. Iv. the story of the competition also

13. consummatam : from the epi- Athen. xii, 543 E, Ailian, noiidkri lar.

gram Athen. xii, p. c,^z'K = Anthol. ix, 11. Introd. p. liv f.

App. 6o = Bergk, ii, p. 321, 636, 2 cf. ; in Aiaoe armorumque iudicio :

the epigram composed by Zeuxis upon it is unnecessary to suppose from

himself, Aristeides, Or. 49, ii, p. 521 these words that 'The award of the
= Bergk, ii, pp. 318, 634. Arms' was also the subject of the
14. super omnia . . . ortum : ac- picture by Timanthes.
cording to Jahn {loc. cit.) these words 19. libidines: one instance on re-

are from a lost epigram of similar cord Meleager and Atalanta,'

is his '

character to those preserved in Athe- Suet. Tib. 44; Polemon (a/. Athen.

I 2
 Ii6 C. PLINIl SECUNDI NAT. HIST. XXXV
73 nam Timanthi vel plurimum adfuit ingenii. eius enim est
Iphigenia oratorum laudibus celebrata, qua stante ad aras
peritura cum maestos pinxisset omnes praecipueque patru-
um, et omnem imaginem consumpsisset,
tristitiae patris
voltum velavit quern digne non poterat ostendere.
ipsius 5
74 sunt et alia ingenii eius exempla, veluti Cyclops dormiens
in parvola tabella, cuius et sic magnitudinem exprimere
cupiens pinxit iuxta Satyros thyrso pollicem eius metientes.
atque in unius huius operibus intellegitur plus semper quam
pingitur et, cum sit ars summa, ingenium tamen ultra artem 10

est. pinxit et heroa absolutissimi operis artem ipsam com-

plexus viros pingendi, quod opus nunc Romae in templo
75 Pacis est. Euxinidas hac aetate docuit Aristiden praecla-
rum artificem, Eupompus Pamphilum Apellis praeceptorem.
est Eupompi victor certamine gymnico palmam tenens. ig

567 b) makes the same charge

xiii, p. with head completely veiled, but since
of nopvoypcupia against Aristeides, Iph. is being carried, and not stand-
Fansias and Nikophanes; cf. also ing, we must see in it only a later
Euripides, Hippol. 1005. adaptation of the picture by Timan-
§ 73. I. Nam : resumes the snbject thes (cf also Helbig, op.
cit. 1305, and

from victus esset. the mosaic in A. Z. 1869, taf. xiv).

Timanthi : a native of Kythnos, The ancients entertained two distinct
Quinct. ii, 13, 13. Eustathios (on views as to the veiling of Agamem-
//. p. 1343, 60), whose authorities non ; Pliny and Quinctilian arguing
are rarely trustworthy, calls him that the painter did not show the
'StKvimios. It must be by confusion features of the father, in order to save
with a later Timanthes, who painted dignitas, while Cicero and Valerius
the battle of Aratos against the Maximus argued that he had recourse
Aitolians at Pellene in Arkadia, in to this means because the highest
B. c.240 (Plut. Arat. 32), and who pain cannot be expressed in art.
was therefore presumably a Sikyonian. Both ancient and modem criticisms
2. oratorum: cf. Cic. Orator, 22, are discussed by Bliimner, Comm. to
74 fictor (name not mentioned) ille Lessing's Laokoon, p. 506 f. As
vidit, cum immolanda Iphigenia iristis Bliimner points out, the veiling motive
Calchas esset, tristior Vlixes, mae- insorrow is common both in painting
reret Menelaus, obvolvendum caput and poetry c. g. Euripides veils the
;

Agamemnonis quoniam sum-

esse, head of Agamemnon in the description
mum ilium luctum penicillo non posset of the identical scene, i^A. Aul. 1550 ;
imitari. That the Iphigeneia was a cf. also Brunn, K. G. ii, p. 124.
stock rhetorical subject is proved by According to Quinctilian, this picture
Quinct. {loc. cit.) and Val. Max. viii, gained for Timanthes the prize over
II, ext. 6. A famous Pompeian wall- Kolotes of Teos.
painting, representing the sacrifice 4. constunpsisset : cf. the simi-
(Helbig, Wandgemalde, 1 304 = phot. lar story of Euphranor, Val. Max.
Alinari 12027), shows Agamemnon viii, II, ext. 5. According to Ensta-
 /. PAINTING 117

relaxation in this wanton humour. To return Timanthes was a 73

painter above all curious in invention, for by him is that Iphigeneia Iphigeneia
^'""'"'
praised by the orators, whom he depicted standing by the altar ready "t
for death. Having represented all the onlookers and especially
her father's brother as plunged in sorrow and having thus exhausted
every presentment ofgrief, he has veiled the face of her father for

which he had reserved no adequate expression. There are other 74

examples of his inventiveness; for instance, being' desirous to
emphasize, even in a small picture, the huge size of a sleeping sleeping
Cyclops, he painted some Satyrs at his side, measuring his thumb Cyclops.
with a thyrsos. He is the only artist whose works always suggest
more than is In the picture, and great as is his dexterity, his
power of invention yet exceeds it. He also painted a hero, a pic- Hero in
ture in which he touched perfection, having comprehended in it
'^f^'°{
the whole art of painting the male figure. The picture is now at Rome.

Rome in the temple of Peace.

In this period \Euxeinidas was the master of Aristeides, 75
'^''
a famous and \Eupompos of Pamphilos, who in turn was the ^?'
artist,

master of Apelles. We have by Eupompos a victor in an athletic the schools

contest holding a palm. So great was this artist's reputation that ''^ff/J^j^„i^
thios (/. ir.),wliose statement, however, 12. in templo Paois : note oa and Si-
savours of concoction, Timanthes was xxxiv, 84. kyoman.
inspired to veil the head of Agamem- 5 75. 13. Aristiden: identical
non, by the similar device employed with the Aristeides of § iii, the master
by Homer in describing the grief of of Euphranor, where Pliny however
Priam, //. xxiv, 163. confuses him with his grandson
§ 74. 6. Cyclops dormiens : the Aristeides the Theban. According to
presentation of this subject in paint- Kroker [Gleichnamige Gr. Kiinstler,
ing was doubtless influenced by the p. 33) and Furtwangler {Masterpieces,
A/^/i?/J of Euripides, in which the p. 349) he is further probably identical
Satyrs were brought on the stage with with the sculptor of xxxiv, 72, pupil of
Polyphemos ; Robert, Bild a. Lied, Polykleitos; the dates favour the

p. 35 ; Winter,ya/4?-i. vi, 1891, p. 272, supposition.

who rightly refuses to refer the pic- 14. Eupompus : xxxiv, § 61
ture (with Klein) to the younger above, § 64.

Timanthes. 15. palmam tenens a number of :

II. artem ipsam oomplexua : examples of a youth with palm in

the similarity of expression with the left hand, and raising the crovm
xxxiv, 56, solusque hominum autem to his head with the right, are collected
ipsam fecisse artis opere iudicatur, by Milchhbfer, Arch. Stud. Brunn
suggests that the ^«?-tfj of Timanthes, dargebracht, 1892, p. 62, ff. ;they
like the Doryphoros of Polykleitos, probably go back to the type created
was a canonical figure intended to by Eupompos, Furtwangler, Master-
illustrate the artist's theories of pro- pieces, p. 256 ; cf. also Reisch, Griech.

portion ; cf. Kalkmann, Jahrb. x, Weihgeschenke, p. 41.

1895, p. 84, note 147 ; Introd. p. xli.

 ii8 C. PLINII SECUNDI NAT. HIST. XXXV
ipsius auctoritas tanta fuit ut diviserit picturam in genera,
quae ante eum duo fuere — Helladicum et Asiaticum appella-
bant— propter hunc, qui erat Sicyonius, diviso Helladico
76 tria facta sunt, lonicum, Sicyonium, Atticum. Pamphili
cognatio et proelium ad Phliuntem ac victoria Atheniensium, 5

item Ulixes in rate, ipse Macedo natione, sed primus in

pictura omnibus litteris eruditus, praecipue arithmetica et
geometria, sine quibus negabat artem perfici posse, docuit
neminem talento minoris — annuis 5f D — quam mercedem et
77 Apelles et Melanthius dedere ei. huius auctoritate efifectum 10
est Sicyone primum, deinde et in tota Graecia, ut pueri in-
genui omnia ante graphicen, hoc est picturam in buxo,
docerentur recipereturque ars ea in primum gradum libera-
lium. semper quidem honos ei fuit ut ingenui eam exerce-
rent, mox ut honesti, perpetuo interdicto ne servitia doce- 15
rentur. ideo neque in hac neque in toreutice ullius qui
78 servierit opera celebrantur. clari et centesima septima
olympiade exstitere Action ac Therimachus. Aetionis

4. tria facta sunt : above note on syngenicon of Oinias (143), finally

§ 72. 'It is difficult to say wherein the stemmata of Koinos (139).
this great local superiority consisted, proelium ad Phliuntem ac vic-
which tempted, moreover, wealthy toria := victoria Atheniensium in
amateurs, like Ptolemy II and Atta- proelio ad Phliuntem : hendiadys,
los, to purchase at enormous prices cf. MUUer, pp. 109, 15. The
Stil,
galleries of old Sikyonian masters. picture is generally supposed to have
Plutarch uses a special term for it, represented the episode narrated by
XpTiaToypacjiia, which is usually ex- Xenophon, HelUnika, vii, 3, 18-23,
plained as indicating the reaction in when the Fhliasians and Athenians
art against the methods of Zeuxis under the command of Chares sur-
and his contemporaries.' (C. Smith, prised and put to flight the Sikyonian
art. Pictura, Smith's Diet. Ant. p. troops (b. c. 367) ; Brunu, K. G. ii, p.
413-) 133 f. ; Schaefer, Demosthenes, i, p.
§ 76. 5. cognatio : it may have 103 ff. ; cf. Grole, Greece, viii, p. 258.
been a grave picture placed upon a 6. Macedo : from Amphipolis
family grave, cf in sculpture a similar (Souidas). His birthplace is of im-
family gathering on the Eastern pedi- portance as giving the probable clue
ment of the tomb known as the to the subsequent connexion of his
' Nereid monument ' (Brit. Mus.), pupil Apelles — and possibly to that
Michaelis, A. Z. 1845, pi. xxxiv, p. of Lysippos— with the Makedonian
145. Or it may have been merely a court. (Against his identification, on
votive commemorative picture. For the insufficient testimony of thescholia,
similar subjects cf. the cognatio with the Pamphilos of Aristoph. Plut.
nobilium of Timomachos (136), the 385, see Judeich, Fleckeisen's Jakrb.
frequentia of Athenion (134), the 1890, p. 758.)
 s
"

o
o
w
o
02

o
H
&
El

w
W
Eh
 /. PAINTING 119

it occasioned a new division of the schools of painting. Before

his time there had been two schools, known as the Helladic
proper and the Asiatic ; but now the Helladic was subdivided
in his honour, and thus the schools became three, the Ionic, the
Sikyonian and the Attic, Euporapos himself being a Sikyonian.
By Pamphilos we have a family group, the victorious engage- 76
ment of the Athenians at Phlious, and a picture
'^
of Odysseus
' on P<^>"P^'- '
los, master
his raft. A Makedonian by birth, Pamphilos was the first painter of Afelks.
who was thoroughly trained in every branch of learning, more 3"7 ^'^•
particularly iri arithmetic and geometry; without which, so he
held, art could not be perfect. He taught no one for less than
—
a talent \j[^2\o circ] that is, five hundred denarii [^^17 los.
—
circ] a year the fee paid him both by Apelles and by Melanthios.
It was owing to his influence that first at Sikyon, and after- 77

wards throughout Greece drawing, or rather painting, on tablets

jj'j^^l"f
of boxwood, was the earliest subject taught to freeborn boys, a.-n6.freeborn
•'''
that this art was accepted as the preliminary step towards a liberal
education. It was at any rate had in such honour that at all

times the freeborn, and later on persons of distinction practised

it, while by a standing prohibition no slaves might ever acquire
it, and this is why neither in painting nor in statuary are there
any celebrated works by artists who had been slaves.
In the hundred and seventh Olympiad [352-349 B.C.] lived 78
Action and tTherimachos, both painters of note. By Aetion are xherima-
chos.
praeeipue arithmetioa
7. . . . with other pupils, assisted him in the
posse these words are probably
: votive picture for Aristratos of Sikyon
derived from a Treatise on Painting (Plut. loc. cit.).
by Pamphilos; see Introd. p. xliii. § 77. n. pueri ingenui = fA.61;-

9. quam mercedem Apelles: . . . Oipioi : cf. Aristotle, Polit. v (viii), 3,

'KvBei y&p en S6(a rijs :SiKvavias p. 1338 Sokcl di Kai ff>a<piicii X/"}"''"
jjLovaris KoX xP^^'^^lP^-^'^'^^i ^ fiovrjs fjLos elvai -nphs rb /cpiveiv to, Tutv rex*

ddia(p$opov kx^^^V^ "^^ KaK6Vf liiffTe vnojv epya KiXKiov ovd' aS KaBdirep ^
Kal 'hireWfiv kxetvov ^Si; 6avp.a(6- yv/ivaanur) Trpbs iyleiav xat aXx^v
fi€vov d<ptK€ffdai Kal avyyfv^aOai toTs ovScrepov ydp roiTUV Spwfitv yiv6-
dvbpdciv kirl raKavTqj, t^s h6^r)s jxaK- iifvov iic rrjs fwvatKQs. XeineTat roivvv
\ov fi rrjs rexyv^ SeSjuevov litraKa^fiv. Trpbs t^v iv tJ axo^V Staywy^v, Is

Plut. Arat, xiii. o-mp Kal (paivovraL itapAyovTis avTTjv

10. Melanthius : §§ 50, 80; and fjv yAp otovrat hiayojy^v etvai twv
Ifidex to this book. From Antigonos k\ev6^pa/Vf ev ravTij rarrovaiv.
ofKarystos, ap. Diogenes L. iv, 3, 18 §78. 18. Aetionet Therimaohus:
(Introd. p. xxxviii), we learn that he cf note on xxxiv, 50. Therimachos is
wrote Tiepl (aiypa<j>i«^s ; Melanthios otherwise unknown, Aetion is a fav-
was also a master of Apelles (perhaps ourite artist of Lucian, who has given
after the death of Pamphilos), who, a famous description of his Alexander
 I20 C. PLINII SECUNDI NAT. HIST. XXXV
sunt nobiles Tragoedia et
picturae Liber pater, item
Comoedia, Semiramis ex ancilla regnum apiscens, anus
lampadas praeferens et nova nupta verecundia notabilis.
79 verum et omnes prius genitos futurosque postea superavit
Apelles Cous olympiade centesima duodecima. picturae 5

plura solus prope quam ceteri omnes contulit, voluminibus

etiam editis quae doctrinam earn continent, praecipua eius
in arte venustas fuit, cum eadem aetate maximi pictores
essent. quorum opera cum admiraretur omnibus conlaudatis,
deesse illam suam Venerem dicebat, quam Graeci Charita 10

vocant, cetera omnia contigisse, sed hac sola sibi neminem

80 parem. et aliam gloriam usurpavit, cum Protogenis opus
inmensi laboris ac curae supra modum anxiae miraretur,
dixit enim omnia sibi cum illo paria esse aut illi meliora,
sed uno se praestare, quod manum de tabula sciret tollere, 15
memorabili praecepto nocere saepe nimiam diligentiam. fuit
autem non minoris simplicitatis quam artis. Melanthio
cedebat, Asclepiodoro de mensuris, hoc est
dispositione
81 quanto quid a quoque distare deberet. scitum est inter
Protogenen et eum quod accidit. ille Rhodi vivebat, quo 20
cum Apelles adnavigasset avidus cognoscendi opera eius

and Roxana ('H/iiiS. ^ 'Afrlaiv, 4) where Hephaistion holds a torch, the

cf. ('m6vk, 7, irepl tS/v firl luaB. aw. marriage feast of Peirithoos by Hippys
42 cf. Cicero,
; Brutus, xviii, 70 (Athen. xi, p. 474), which was lit up
(quoted above, note on § 50). by u. hanging candelabrum. The
2. Semiramis : Brunn {K. G. ii, enumeration from Tragoedia to anus
p. 245) points out that the nuptials is asyndetical et being reserved to
of S. and Ninos may have been con- link Comoedia to Trag. (both in one
ceived as a sort of mythical counter- picture) and nova nupta to anus
part to those of Alexander and Rox- — so that I cannot follow Brunn
ana. (K, G. ii, p. 245) and Furtwangler
anus ... nova nupta : of course (Domauszieher, p. 96, n. 57), in
in one picture. The anus is doubtless understanding the words anus . . .

the mother of the bride, to whom the notabilis to be descriptive of the

S^Soux'"') the carrying of the 5a5ts picture of the Nuptials of Semiramis.
vvii<j)ticai, usually fell ( Hermann-Blum- § 79. 5. Apelles Cous : Ovid,
ner, Lehrbuch, p. 275; Furtwangler, ArsAmat. iii, 401, Pont. Epist. iv, i,

S. Sabouroff, i. 58, 59 ; cf. the at- 29 ; but Strabo (xiv, p. 642), Lncian,
ten(iant(?) holding torches on the 5io;SoX. 2,andafterhim Tzetzes (C,4j7.
marriage vases or KouTpo<l>6poi). The viii, 392) call him an Ephesian that ;

torch was doubtless made the occa- this is correct is proved by Herondas,
sion for effects of light; cf. the iv, 72 ('E^cffiou 'AmWia) who cer-
mariiage of Alexander and Roxana, tainly would not have made Apelles
 /. PAINTING lai

the well-known pictures of Dionysos, of Tragedy and Comedy,

of Semiramis rising from slavery to royal power, and of an old
woman carrying lamps and a bride, whose shamefacedness is very
apparent.
Apelles of Kos, however, in the hundred and twelfth Olympiad 79
[332-329 B.C.] excelled all painters who came before or after him. '^f^"
He of himself perhaps contributed more to painting than all the. ffis written
^''^'"'""
others together ; he also wrote treatises on his theory of art. The
grace of his genius remained quite unrivalled, although the very
greatest painters were living at the time. He would admire their Bis esti-

works, praising every beauty and yet observing that they failed ""''" of the

m
•
^u 1, 1 , ^ ,
the grace, called xapis in Greek, which was distinctively his contemfor-
, , •!• • , ,
worksofhts

own ; everything else they had attained, but in this alone none "7" andof
equalled him. He laid claim to another merit : when admiring so
a work of Protogenes that betrayed and the immense industry
most anxious elaboration, he said that, though Protogenes was
his equal or even his superior in everything, he yet surpassed
that painter in one point —
namely in knowing when to take his
hand from a picture ; a memorable saying, showing that too much
care may often be hurtful. His candour was equal to his genius
he acknowledged the superiority of Melanthios in the distribution
of figures, and that of Asklepiodoros in perspective arrangement,
that is in giving the accurate distances between different objects.
A neat story is told of him in connexion with Protogenes, who 81
was living° in Rhodes. Thither Apelles
i sailed, eager
D to see the"?"""*"" ;
Protogenes.

into an Ephesian, if he could have 9. quorum opera cum adm.

claimed him for his native Kos. The i. e. in his writings.
was a Koan
tradition that the artist § 80. 12. Protogenis : below,
arose because at Kos were some of his §§ 8i, 101-106.
most celebrated works, among them opus miraretur ; presumably the
the Anadyomene. lalysos.
6. voluminibus editis cf. §111; : 15. manum de tabula :=X"P'"'''°
it must be from these writings of rpoMi^-qi ; Petron. j6 postquam coepi
Apelles that the judgements he passed plus habere, quam tola men patria
upon his contemporaries were origi- ha6et,manum de taSiila; also used of
nally derived (Introd. p. xl). school-boys trifling in their master's
7. praeoipua venustas: Quinct. absence, cf. Cic. ad Fain, vii, 25
xii, 10, 6 ingenio et gratia, quam sed heus tu, manu de tabula I (Otto,
in se ipso maxime iactat, Ap. est prae- SprichivSrter, p. 210).
stantissimus. According to Plutarch 1 7- Melanthio above, § 76. :

(fiemetr. xxii), and Ailian (ttoiw. Iot. 18. Asclepiodoro below, § 107. :

xii, 41) this judgement on himself was § 81. 19. scitum est: the follow-
passed when he saw the lalysos of ing anecdote appears to be elaborated
Protogenes (§ 102). out of the admiration which Apelles
 122 C. PLINII SECUNDI NAT. HIST. XXXV
fama tantum sibi cogniti, continuo officinam petiit. aberat
tabulam amplae magnitudinis in machina aptatam
ipse, sed

una custodiebat anus, haec foris esse Protogenen respondit

interrogavitque a quo quaesitum diceret. ab hoc, inquit
Apelles, adreptoque penicillo lineam ex colore duxit sum- s
82 mae tenuitatis per tabulam, et reverso Protogeni quae gesta
erant anus indicavit. ferunt artificem protinus contempla-
tum subtilitatem dixisse Apellen venisse, non cadere in
alium tarn absolutum opus, ipsumque alio colore tenuiorem
lineam in ipsa ilia duxisse abeuntemque praecepisse, si lo

redisset ille, ostenderet adiceretque hunc esse quern quae-

reret, atque ita evenit. revertit enim Apelles et vinci
erubescens tertio colore lineas secuit nullum relinquens
83 amplius subtilitati locum, at Protogenes victum se confessus
in portum devolavit hospiteni quaerens, placuitque sic eam 15

tabulam posteris tradi omnium quidem, sed artificum prae-

A.u.c. 757. cipuo miraculo. consumptam eam priore incendio Caesaris
domus in Palatio audio, spectatam nobis ante spatiose nihil
aliud continentem quam lineas visum effugientes inter egregia
multorum opera inani similem et eo ipso allicientem omnique 20
84 opere nobiliorem. Apelli fuit alioqui perpetua consuetudo
numquam tam occupatum diem agendi ut non lineam du-
cendo exerceret artem, quod ab eo in proverbium venit.
idem perfecta opera proponebat in pergula transeuntibus,
atque ipse post tabulam latens vitia quae notarentur aus- 25
cultabat vulgum diligentiorem iudicem quam se praeferens,
85 feruntque reprehensum a sutore, quod in crepidis una pauci-
ores intus fecisset ansas, eodem poster© die superbo emenda-

3. aptatam una] Bamb. ; aptatam picturae una reliqui, Detlefsen.

had professed for Protogenes in his Laert. vii, 7, 185. The motive is
writings, see Introd. p. xl. Homeric Siavep 6 Aaeprij? . . . ypjjl aiiv

3. una . . . anus : Leo, Plautinische d^^iTroAoi, Teles, p. 25 (ed. Hense).

Forschungen (i
895), p. 65, calls atten- 5. lineam . .duxit the anecdote
. :

tion to the part played in classical belongs to the same category as

literature by the single ancilla or the Giotto'sO,Vasaried.MilanesiI,p.383.
anus. Like the pistrinum she is, so § 83. 17. consumptani ... audio
to speak, one of the requisites of the oral tradition.
contented life. We get the ancilla § 84. 23. in proverbium : i. e.
in the amusing anecdote, Cic. de Oral. nullus dies sine linea; c{.Otto,SfincA-
ii, 276, while Chrysippos i)p«tiro viorter, p. 194.
7/jai5i'9J, \i.6vm, Demelrios ap. Diog. 24. pergula : cf. Ulpian, Digest.
 7. PAINTING 123

works of a man only known to him by reputation, and on his

arrival immediately repaired to the studio. Protogenes was not
at home, but a solitary old woman was keeping watch over a large
panel placed on the easel. In answer to the questions of Apelles,
she said thaf "Protogenes was out, and asked the name of the
visitor :
'
Here it is,' said Apelles, and snatching up a brush he
drew a line of extreme delicacy across the board. On the return 82
of Protogenes the old woman told him what had happened. ^ une in
When he had considered the delicate precision of the line he at friendly
once declared that his visitor had been Apelles, for no one else
could have drawn anything so perfect. Then in another colour
he drew a second upon the first, and went away,
still finer line
bidding her show it to Apelles if he came again, and add that this
was the man he was seeking. It fell out as he expected Apelles ;

did return, and, ashamed to be beaten, drew a third line of

another colour cutting the two first down their length and leaving
no room for any further refinement. Protogenes owned himself 83
beaten and hurried down to the harbour to find his visitor ; they
agreed to hand down the painting just as it was to posterity,
a marvel to all, but especially to artists. It perished, I am told, a.d. 4.

in the first fire of the house of the Caesars on the Palatine.

Formerly we might look upon it; its wide surface disclosed
nothing save lines and among the
which eluded the sight,

numerous works by excellent painters it was like a blank, and it

was precisely this that lent it surpassing attraction and renown.
Apelles further made it an unvarying rule never to spend a day, 84
however busy, without drawing a line by way of practice ; hence ^^J^'
the proverb. It was also his habit to exhibit his finished works

to the passers-by in a balcony, and he would lie concealed behind

the picture and listen to the faults that were found with it, regard-
ing the public as more accurate critics than himself. There is 85
a story that when found fault with by a cobbler for putting one ^^^^j^j^l!"'^^
loop too few on the inner side of a sandal, he corrected the
mistake. Elated by this the cobbler next day proceeded to find
fault with the leg, whereupon Apelles thrust out his head in

i'^i 3) 5 > § 12 cum fictor in pergula 6, the old reading pergula pictorum
clipeum vel tabulam exposilam ha- shoald be altered to pergula ficto-
buisset eaque excidisset, et transeunti rum, which is adopted by Buecheler.)
damni quid dedisset. (It has been For pergulae at Pompei, see Mau,
shown by F. Marx in Studia Lucili- Rom. Mitth. ii, 1887, p. 214 ff.

ana, 1882, p. 16 f. that in Lucilius xv,

 124 C. PLINII SECUNDI NAT. HIST. XXXV
tione pristinae admonitionis cavillante circa crus, indignatum
prospexisse denuntiantem ne supra crepidam sutor iudicaret,
quod et ipsum in proverbium abiit. fuit enim et comitas

illi, propter quam gratior Alexandro Magno frequenter in

officinam ventitanti — nam, ut diximus, ab alio se pingi s
vetuerat edicto —sed in officina imperite multa disserenti
silentium comiter suadebat rideri eum dicens a pueris qui
83 colores tererent. tantum erat auctoritati iuris in regem
alioqui quamquam Alexander honorem ei
iracundum.
clarissimo perhibuit exemplo, namque cum dilectam sibi lo
ex pallacis suis praecipue, nomine Pancaspen, nudam pingi
ob admirationem formae ab Apelle iussisset eumque, dum
paret, captum amore sensisset, dono dedit ei magnus animo,
maior imperio sui, nee minor hoc facto quam victoria aliqua.
87 quippe se vicit, nee torum tantum suum sed etiam adfectum 15
donavit artifici, ne dilectae quidem respectu motus, cum
modo regis ea fuisset, modo pictoris esset. sunt qui Venerem
anadyomenen ab illo pictam exemplari putent. Apelles et
in aemulis benignus Protogeni dignationem primus Rhodi
88 constituit. sordebat suis ut plerumque domestica, percon- 20
tantique quanti liceret opera effecta parvum nescio quid
dixerat, at ille quinquagenis talentis poposcit famamque
dispersit se emere ut pro suis venderet. ea res concitavit
Rhodios ad intellegendum artificem, nee nisi augentibus
pretium adeo similitudinis indiscretae
cessit. imagines 25
pinxit ut —incredibile
dictu Apio grammaticus scriptum —
reliquerit quendam ex facie hominum divinantem, quos
metoposcopos vocant, ex iis dixisse aut futurae mortis annos

§ 85. 2. ne supra orepidaiu sutor: 7. qui colores tererent: to nai-

cf. Valer. Max. viii, 1 3, ext. 3 Otto, ; Bopiard toS ZeiJf i8os Tiiv lirjAiSa rpi-
Sprichwdrter, p. 97. Introd. p. lix. ^avra KarcyfAa, Ailian, loc. cit.
3. enim; corroborates idem prae- §86. 11. Pancaspen: ovo/ra ?pi
ferens, ignoring the intervening anec- XlayKaavrj, rb Si yifos Aapiacraia,
dote. Ailian, IlotK. 'lar. xii, 34. Lucian
5. ut diximus: invii, i25 = App.I; {iMvis, 7) calls her naKdrij.
cf. note on xxxiv, 63. j anadyomenen = exeun-
87. 18. :

6, in officina : the following anec- Um mart, below, § 91.

e
dote is told by Plutarch (tie Tranquill. exiemplari according to Athen.
:

Anim. 12), concerning the megabyzos xiii, p. 590 f, the model was Phryne,

(§ 93). while Ailian, noi«. 'lo-r. ii, j,, while according to Anth. Plan. 179
tells it of Zeuxis and a megabyzos. Apelles, like Praxiteles (xxxvi, 21),
 /. PAINTING 125

a passion and bade the cobbler '

stick to his last/ a saying which
has also passed into a proverb.
The charm of his manner had won him the regard of Alexander Friendship
the Great, who was a frequent visitor to the studio, for, as we have ^^ and"'
said,he had issued an edict forbidding any one else to paint his Apelles.
portrait. But when the king happened to discourse at length in pankSpe.
the studio upon things he knew nothing about, Apelles would
pleasantly advisehim to be silent, hinting that the assistants who
ground the colours were laughing at him ; such power did his 86
personality give him over a king habitually so passionate. Yet j

Alexander gave him a signal mark of his regard he commissioned :

J

Apelles to paint a nude figure of his favourite mistress Pankaspe, 1

so much did he admire her wondrous form, but perceiving that j

Apelles had fallen in love with her, with great magnanimity and \

still greater self-control he gave her to him as a present, winning

by the action as great a glory as by any of his victories. He 87
conquered himself and sacrificed to the artist not only his mistress
but his love, and was not even restrained by consideration for the
woman he loved, who, once a king's mistress, was now a painter's.
Some believe that she was the model for the Aphrodite rising
from the sea.
Friendly even to his rivals, Apelles was the first to establish in 88
Rhodes the reputation of Protogenes, who, as so many in their ^f"A"i\l^
own homes, was neglected by his countrymen. When asked by to Proio-

Apelles the prices of his finished works, he mentioned some^''"*''"

trifling sum, upon which Apelles offered fifty talents [^^10,500

circ] for each, and spread a report that he was buying the pictures
to sell as his own. This stirred up the Rhodians to a better
appreciation of the artist, but not until they offered a still higher
pricewould Apelles give up the pictures.
His portraits were such perfect likenesses that, incredible as it His aston-
may sound, Apio the grammarian has left it on record that "'^^^ ^
a physiognomist, or ^cruTroo-Kojros as they are called, was able to portrait
painter.

was privileged to see the goddess waives the responsibility aad imme-
herself : avjav ka ttuvtoio tlBtjvtjt^pos diately niimes his authority,
'AireWrjs |
ray Kvirpiv yv/ivcLv tlSe Apio gTammaticus : Praef. 25,
Aox'i"';'^'''"'. yixn, 18, and oftea in Pliny; flor.

§ 88. 25. similit. indisoretae : reign of Caligula. Miiller, F. H, G.

xxxiv, 60 facie quoque indiscreta iii, 506-516.
similis, and note. 28. metoposoopoa : cf. Suet. Ti-
36. incredibile diotu hence Pliny : tus 1,
 126 C. PLINII SECUNDI NAT. HIST. XXXV
89 aut praeteritae vitae. non fuerat ei gratia in comitatu
Alexandri cum Ptolemaeo, quo regnante Alexandriam vi
tempestatis expulsus subornato fraude aemulorum piano
regio invitatus ad cenam venit, indignantique Ptolemaeo at
vocatores suos ostendenti, ut diceret a quo eorum invitatus s

asset, arrapto carbone axtincto e foculo imaginem in parieta

deliniavit, adgnoscante voltum plani rega inchoatum proti-
90 nus. at Antigoni regis imaginem altero lumine
pinxit
orbam primus axcogitata rationa vitia condendi, obliquam
namqua fecit, ut quod deerat corpori picturae deesse potius lo

videretur, tantumque eam partem a facie ostendit quam

totam poterat ostendera. sunt inter opera eius at axspi-
rantium imagines, quae autem nobilissima sint non est
9} facile dictu. Venerem axeuntem e mari divus Augustus
dicavit in delubro patris Caesaris, quae anadyomene vocatur, 15

versibus Graecis tali opere, dum laudatur, victo sed inlus-

§ 89. I. nou fuerat ei gratia : 9. oblic[uam : Brunn, IC. G. ii,

the following is a mutilated and some- p. 10; Quinct. ii, 13, 12 habet in pic-
what different account of the events tura sfeciem tola fades ; Apelles tamen
narrated at length by Lucian (5ia;8oX. imaginem Antigo7ii latere tantum
4), for which, according to Lucian, altero ostendit, ut amissi oculi deformi-
Apelles took vengeance by painting tas lateret. These words prove beyond
his famous 'Calumny.' Both the the possibility of doubt that tlie obli-

versions have an aitiological fla- qua imago of Antigonos was a simple

vour, and probably arose in great portrait in profile. Hartwig, however,
measure out of the picture itself (for {Meisterschalen, p. 157) argues that
the historical inaccuracies in Lucian's to disguise a defect a simple profile
story see Brunn, K. G. ii, p. 208). For would be unworthy of the inventiveness
the latest discussion of the Calumny, of so great an artist as Apelles, and,
and especially of the influence of starting from the meaning which he
Lucian's description on artists of the claims for catagrapha (above, § 56,
Renascence, see R. Forster in Jahrb. where see note) , tries to show that the
d. Preuss. Saniml. 1887, p. 39 ff. portrait was in | and foreshortened.
3. aemulorum : from Lucian, loc. The portrait of the squinting Tommaso
cit.,'^& learn that the Egyptian painter Inghirami by Raphael (original in
Antiphilos (§§ 114, 138) was among Pal. Inghirami at Volterra the picture ;

them. in the Pitti is only " copy), which

5. vocatores : i. e. the slaves in Hartwig quotes in support of his
charge of the invitations or vocationes, theory, seems as a fact to emphasize
Seneca, Ira iii, 37, 4; Suet Calig. rather than conceal the physical de-
39. fee- fect.

§ 90. 8. altero lumine orbam 12 . exspirantium imagines

Ant. was accordingly sumamed )i.ov6- acutely explained by Briickiier {Sitz-
(j>0a\iio5 and KjJ/cAot^, Polyb. v, 67, 6 ;
ungsber. d. Wiener Akademie, vol.
Ailian, Tilout. 'lar. xii, 43. 116, p. 519, note 4) as grave pictures
'
 /. PAINTING 127

tell from the portraits alone how long the sitter had to live or had A
already lived. When he had been on un- 89
in Alexander's train
friendly terms with Ptolemy, during whose reign he was once
driven into Alexandria by a violent storm. On Apelles appearing !

at a banquet, to which his had maliciously induced the rivals ;

king's fool to invite him, Ptolemy flew into a passion, and pointing '

to his chamberlains bade him say from which of them he had j

received the invitation, whereupon the painter snatching up :

a charred stick from the hearth traced on the wall a likeness, in

whose first strokes the king at once recognized the face of the
fool.

He also painted a portrait of king Antigonos, who was blind of 9°

one eye, being the first to devise a means of concealing the ^y,^
by presenting his profile, so that the absence of the, eye
infirmity Antigonos.

would be attributed merely to the position of the sitter, not to 1

a natural defect, for he gave only the part of the face which could j

be shown uninjured. There are among his works some pictures

of dying people, though it were difficult to say which are the best, j

His Aphrodite rising from the sea was dedicated by the god 91
Augustus in the temple of his father Caesar : she is known as the ^j-^-„C/)-o»i
am^voiJ.€vri, being, like other works of the kind, at once eclipsed i/ie sea.'

yet rendered famous by the Greek epigrams written in her praise.

representing death - scenes ; cf. the quellen, 1 847-1866) we learn that

7pairTus TUTTO?, described Anth. vii, the goddess was represented wring-

730; cf. also «^. vii, 170; Weisshaupl, ing her hair, in a type which
Die Grabgedichte der Gr. Anthologie, was likewise adapted to statuary
ii, 7, 3 praises the
97ff.; further, Pans, (Helbig, Class. Ant. 254). For the
excellent painting of a grave picture picture itself see Benndorf, Athen.

at Sikjon, of Xenodyke, who died in Mitth. 1876, p. 50.

childbirth; cf. in sculpture the grave 15. in delubro patris Caesaris
relief of Malthake from the Peiraieus, the picture was previously in the
see Friederichs-Wolters, 1043. Praxi- Koan Asklepieion, whence Augustus
teles(xxxiv,7o),Nikias(below,§ 132), obtained it by remitting 100 talents
Nikomachos (mon. of Telestes, § 109), of the Koan tribute; Strabo xiv,

likewise decorate graves ; cf. the p. 657. Since Ovid (exiled A. D. 8)

iuvenis requiescens of Simos, § 143. mentions the Anadyomene in Trist.
13. quae autem nobilissima ii, 527 £, the picture must have been in
sint t [refers not to ofera but to Rome previous to the year of his exile.
imagines ; rapid changes of gender or For further discussion of the dates see
number are common in Pliny, May- Wunderer, Manibiae Alexandrinae,
hoff, Lumhr. Plin. (1865) p. 83 cf. ; p. 8.

J. Miiller,
Slil, p. 56. H. L. U.]. — 16. vioto sed inlustrato : ' sur-

§ 91. 14. exeuntem e mari = passed ' inasmuch as the poet can give
anadyomenen, above, § 87. From expression to more things than the
numerous descriptions {OYerh. Schrift- painter who is limited to one moment
 128 C. PLINII SECUNDI NAT. HIST. XXXV
trato, cuius inferiorem partem corruptam qui reficeret non
potuit reperiri, verum ipsa iniuria cessit in gloriam artificis.
consenuit haec tabula carie, aliamque pro ea substituit Nero
92 principatu suo Dorothei manu. Apelles inchoaverat et
aliam Venerem Coi superaturus famam illam suam priorem. S

invidit mors peracta parte, nee qui succederet operi ad prae-

scripta liniamenta inventus est. pinxit et Alexandrum
Magnum fulmen tenentem in templo Ephesiae Dianae viginti
talentis auri. digiti eminere videntur et fulmen extra
tabulam esse —legentes meminerint omnia ea quattuor colo- lo

ribus facta — manipretium eius tabulae nummo aureo in

93 mensura accepit, non numero.

megabyzi sacer- pinxit et
dotis Dianae Ephesiae pompam, Clitum cum equo ad
bellum festinantem, galeam poscenti armigerum porrigentem.
Alexandrum et Philippum quotiens pinxerit enumerare i5

supervacuum est. mirantur eius Habronem Sami, Menan-

6. famam] etiam omnes f raster Bamb ., Detlefsen.

for the idea conveyed by inlustrato The position of the right arm holding
cf. xxxiv, 57, of the heifer of Myron, the thimderbolt in the gem is specially
celebratis quando
versibus laudata, significant.
alieno plerique ingenio magis quam 9. eminere videntur : cf. in
suo commendantur. § 127 quae volunt eminentia videri;
3. substituit this may be an :
§ 131 ut eminerent e tahulis picturae.
exaggeration, as the picture of Apelles 10. legentes meminerint harks :

seems still to have been in exist- back to 5 50.

ence under Vespasian, when Suetonius § 93. 12. megabyzi: Strabo xiv,
(J^esp. 18) speaks of its being again p. 641 Itpias 5' ci/vovxovs ei^ov o{}s
restored : Coae Veneris . . . refectorem eicaX(»jv MeyaPv^ovs.
insigni congiario magnaque mercede 13. pompam; from Herondas iv,
donavit. 66 fif. we learn that the picture was
§ 92. 4. inclioaverat : Cic Fam. at Kos, in the iratrriSr (Sanctuary) of
i, 9, 15, and Off. iii, i, 10. theAsklepieion, and that itrepresented
8. fiolmen tenentem = nepavvo- a sacrifice of oxen. It is amusingly
(p6pov, i. e. deified. Plutarch {irepl described by the gossips Kokkale and
TJjr 'A\. rixv^t ^h 2) relates that it was Kynno (ed. Crusins).
said of this picture that there were KOK. i Pais Si x<" ayojv airov, ^ 9'

two Alexanders, the son of Philip ofiapTtvaa

who was invincible, and the Alex- X^ ypvwds ovTos x^ avaffifws
ander of Apelles who was inimitable. dv$pajTroij
It is a fascinating conjecture of King oixl iiriv PKeirovaiv ^/J-iprjr
{Anc. Gems i, p. xii), followed by TrdvT€S ;

Fnrtwangler, Jahrb. iv (1889% p. 69, 6( /jt^ eSdteevv Ti p.€^ov fj yw^

that an ancient copy of this famous nprjffaeiv,
picture is extant in the carnelian in dvi]\d\a^' at/, 1171 /i' 6 Povs ri
St. Petersburg {Jahrb. iii, pi. xi, 26). mjiaivri.
 /. PAINTING ia9

When the lower portion was damaged no one could be found to

restore it, and thus the very injury redounded to the glory of the
artist. In course of time the panel of the picture fell into decay, Its resiora-
and Nero when Emperor substituted for it another picture by the j^^-otheos.
hand of Dorotheos. Apelles had begun another Aphrodite at 92
Kos, intending to surpass even the fame of his earlier achieve-
ment, but when only a part was finished envious death interposed,
and no one was found to finish the outlines already traced. He 'Alexander
also painted in the temple of Artemis at Ephesos a portrait of^^„^^^.
Alexander holding a thunderbolt for twenty talents [^4,200 bolt.'

circ] : the fingers seem to stand out and the thunderbolt to

project from the picture ;
—the reader should remember that all
thiswas done with four colours. For this picture he was paid in
gold coins, reckoned not by number but by measure. He painted 93
too the train of a jicya^v^oi, or priest of Artemis of Ephesos,
Kleitos on horseback going out to battle, and the picture of
a squire handing a helmet to one who asks for it. It were vain
to enumerate the number of times he painted Alexander and
Philip. At Samos we admire his Habron, at Rhodes his
Menander, king of Karia, and his Antaios, at Alexandria Gorgo-

ovTcy iinXo^oTf Kvvvtj TJ} erepri afterwards slain : Arrian. iv, 8, &c.
KOVfrri. 14. galeam poscenti : [generally
KYN. iXijeivai, <t>i\ri, yAp at 'Efeaiov taken as descriptive of the portrait of
Kleitos. But the change from the
Is iravr' 'AireWiio ypaii/uiT' accusative to the dative would be bar-
ou5* epets '*
KUyos barous,whiletheasyndeticenumeration
&v$paTros fV /tlv ttSev, %v S' shows that we have here a fresh sub-
dinjpv-fidTj^' ject. It was perhaps a grave picture
dX\' w kirl vovv yiVOlTOf KaX (expir. imago) ; very similar subjects
OeStv Tpavetv appear on grave reliefs (i ) in Syracuse,
^TTciyfB' . . . rider with horn of plenty, standing by

The use of the past tense j/irci^exo his horse, to 1. attendant leaning on

shows that Apelles was no longer spear, to boy bringing helmet, snake
1.

alive at the time Herondas wrote the between boy and horse, unpublished
Mimiamboi (circ. B. c. 280-37:?). For (2) the relief from Thyrea in Athens,
similar subjects cf. on § 126 (Pansias) Frlederichs-Wolters, 1812, cf. Dene-
and § 137 (Aristolaos). curious but A ken, ap. Roscher ii, art. Heros,' col. '

arbitrary explanation of the Koan 2563. Also on vases, Naples, Heyde-

picture, as representing the Egyptian mann 2193, from Canosa. H. L. U.] —
bull Apis, is given by R. Meister in 15. quotiens pinzerit: cf. xxxiv,

his ed. of Kerondas, p. 223. 63, of Alexander's portraits by Lysip-

Clitum ; sumamed o iti\as (Plu- pos.
tarch, Alex. 16), the bosom friend 16. Habronem : probably the
of Alexander, whose life he saved at painter mentioned below, § 141.
the Granikos, and by whom he was Sami: where the Heraion con-
K
 130 C. PLINII SECUNDI NAT. HIST. XXXV
drum regem Cariae Rhodi, item Antaeum, Alexandreae
Gorgosthenen tragoedum, Romae Castorem et Pollucem
cum Victoria et Alexandro Magno, item Belli imaginem
ad terga manibus, Alexandro in curru triumphante,
restrictis

94 quas utrasque tabulas divus Augustus in fori sui celeberrimis s

partibus dicaverat simplicitate moderata, divus Claudius

pluris existimavit utrique excisa Alexandri facie divi
Augusti imagines addere. eiusdem arbitrantur manu esse
et in Dianae temple Herculem aversum, ut, quod est diflfi-
cillimum, faciem eius ostendat verius pictura quam promittat. lo

pinxit et heroanudum, eaque pictura naturam ipsam provo-

85 cavit. est et equus eius sive fuit pictus in certamine, quo
iudicium ad mutas quadripedes provocavit ab hominibus.
namque ambitu praevalere aemulos sentiens singulorum
tantum equo adhin-
picturas inductis equis ostendit, Apellis 15
nivere, idque et postea semper evenit, ut experimentum
86 artis illud ostentaretur. fecit et Neoptolemum ex equo
adversus Persas, Archelaum cum uxore et filia, Antigonum
thoracatum cum equo incedentem. peritiores artis praefe-
runt omnibus eius operibus eundem regem sedentem in equo 20
et Dianam sacrificantium virginum choro mixtam, quibus

tained a collection of pictures (Strabo in § 37 the subject of the picture is

xiv, p. 637 rh 'Upatov . . . veais fie7as, described as Triumph and War.

Ss vvv mvaxoBrjicri (Vti). Servius on ^en. i, 294 (ed. Thiloi, p.
Menandrum : one tSv fTalpay, 109) inforo Augusti introeuntibus ad
Arrian, Anabasis iii, 6, 8 ; iv, 13, 7 ;
sinistram fuit helium fictum et furor
vii, 24, 1, Diodoros xviii, 59 ; he sedens super anna devincius eo habitu
was satrap of Lydia, and as no king quo poeta dixit ; it is of course
of Karia of the name of Menander is possible tliat Pliny forgot to mention
known, it may be that we have here the Furor, but, as Jacobi {Museogr.
a confusion on Pliny's part, cf. Brunn, p. 73) has pointed out, it is more likely
K. G. ii, p. 213. that Servius, in order to give a more
1. Antaeum unknown. : striking explanation of the Virgilian
Alexandreae above, § 89. : lines{Claudentur Belli portae ; Furor
2. tragoedum : cf. the femulenta itnpius initis saeva sedens super
\

tibicina of Lysi|ipos, xxxiv, 63, the arma et centum vitutus aenis {post
saltator Alcisthents in § 147, &c. tergum nodis fremet horridus ore
Castorem. .Magno above, § 37.
, . : cruento), split the personification of
The type of Alexander between the War into two. We may assume from
Dioskouroi was at a later date adapted Servius, loc. cit., that the first picture
to triumphal pictures of the Emperors, was on the R. of the spectator entering
cf. Mon. d. Inst, iii, 10. the Forum.
4. restrictis ad terga manibus § 94. 8. arbitrantur i. e. a judge-:
 I. PAINTING 131

sthenes the tragic actor, at Rome Kastor and Polydeukes with Allegorical
Victory and Alexander the Great, and also a figure of War with
^]'"J'and{r
his hands bound behind his back, and Alexander riding in triumph the Great.
in a chariot. These two pictures had been placed in the most 94
crowded parts of his forum with the restraint of good taste by the 1

god Augustus, but the god Claudius thought fit to cut out in both 1

the face of Alexander and substitute that of Augustus. The '

Herakles with averted face, in the temple of Diana, is also

attributed to Apelles ; by a triumph of art the picture seems not
only to suggest, but actually to give the face. He also painted
a nude hero, a picture which challenges comparison with Nature
herself. A horse also exists, or did exist, painted for a com- 95
petition, in which he appealed from the judgement of men to that
^H^^^f"^''
of dumb beasts. When he saw that his rivals were likely to be The horses

placed above him through intrigue, he caused some horses to be "Mt^'

f
brought in and showed them each picture in turn ; they neighed Apelles.
only at the horse of Apelles, and this was invariably the case
ever afterwards, so that the test was applied purposely to afford
a display of his skill. He also painted Neoptolemos on horse- 96
back fighting against the Persians, Archelaos in a group with
his wife and daughter, and a portrait of Antigonos in armour
advancing with his horse. Skilled judges of painting prefer
among all his works his equestrian portrait of Antigonos and his 3"'-

Artemis amid a band of maidens offering sacrifice, a painting

ment of connoisseurs not certified by Alexander, son of Arrhabaios, Arrian

the artist's signature. i, 20, 10; ii, 27, 6, Diodoros xviii,

9. Dianas : in the campus Flami- 29.

nius dedicated by Lepidus B.C. 179; exequo sc. pugnantem.
:

Liv. xl, 52. The reading Annae (sc. 18. Archelaum two Archelaoi :

Perennae) isdefended by Jordan {ap. are known among the soldiers of

Prellcr, J?om. Mythol. 2nd ed. i, Alexander, (i) the son of Androliles,
p. 344, note i), but against his view one tSjv traipoivj he was placed in
see Wissowa ap. Pauly, s. v. Anna command of the garrison left at
Perenna. Aornos (Arr. iii, 29, i) ; (2) the son
§95. 12. est et equus : according of Theodoros, who was placed in
to Ailian,noiK. 'IffT.ii, 3, thestory was command at Susa (Arr. iii, 16, 9).
told of Alexander and the horse in 21. sacriflcantiuin : since the
his equestrian portrait. The est . . . words aie at variance with the
sive fuit show how little im- Homeric description, endless emen-
portance Pliny himself attaches to dations of the passage have been
such anecdotes. suggested (see Overbeck, Schriftquell.
§ 96. 17. Weoptolemum : not the 1870). The best explanation seems
son of Achilles, as Welcker and others that of Dilthey {Rhein. Mus. xxv, p.
have supposed, but the (ratpos of 327), who supposes that in translating

K 3
 13a C. PLINII SECUNDI NAT. HIST. XXXV
Homeri versus videtur id ipsum describentis. pinxit
vicisse
quae pingi non possunt, tonitrua, fulgetra, fulgura, quae
et
97 Bronten, Astrapen, Ceraunobolian appellant, inventa eius
et ceteris profuere in arte, unum imitari nemo potuit, quod
absoluta opera atramento inlinebat ita tenui ut id ipsum 5

repercussu claritatis colorem album excitaret custodiretque

a pulvere et sordibus, ad manum intuenti demum appareret,
sed etiam ratione magna, ne claritas colorum aciem offende-
ret veluti per lapidem specularem intuentibus et e longin-
quo eadem res nimis floridis coloribus austeritatem occulte 10
daret.
98 Aequalis eius fuit Aristides Thebanus. is omnium primus
animum pinxit et sensus hominis expressit, quae vocant
Graeci ethe, item perturbationes, durior pauIo in coloribus.
huius opera oppido capto ad matris morientis ex volnere
: 15

6. album] Traube ; alvum Bamb. ; alium Bamb. e corr., Detlefsen cm. ;

reliqui. 8. etiam] Bamb. e corr. ; etium Bamb. et cum Voss., Detlefsen.

;

15. opera] Bamb. ;

pictura reliqui, Detlefsen.

some Greek epigram beginning for composition of Apelles's atramentum

instance : still remains obscure ; we can only
'Bvovaavs 8^ x6paifftv 6fjLopp6$os iox^o.ipa gather that although some black sub-
e^Apxovffa x°P°^3 ffeveTOi dypoTepij. stance formed its basis, this was so
Pliny or his author mistook 6voi<rais diluted and spread out as to become
from 6viw for the partic. of Bvoi. transparent and practically colourless.
I. Homeri versus Od. vi, 102 : 6. colorem album excitaret
0117 6' "Aprepiis flffi uar* ovpea iox^- this passage offers grave difficulties,

T^
aipa

Se
*****
fl' a/jia Nifj^t, Kovpat Aibs
(i) If we
in omitting
follow the remaining codices

pure nonsense, since

the word album we
it is absurd to
get

alyt6xoio, talk of a glazing that raised the

dypovbfioi nai^ovffi. picture's colour as a whole, and yet
3. Bronten . . . Ceraunobolian toned it down. (2) If we follow
personifications [^Kfpavvo0o\ta was Detlefsen and adopt the alium which
the personification of xepamSs (Diels, a later hand wrote for the alvum of
Doxographi Graeci, p. 367 foil, and cod. Bamb. we get worse nonsense,
Aetios Mac. ii, 2, 3, p. 368) for Bronte ; for what is this color alius ? (3) I
cf. Philostr. the Elder Imag. i, 14 cannot help suspecting that albus{-a%tA
BpoVTT] Iv ciSci fffcXrjpSi Kal 'AffTpavTj of a dead, opaque white) is a mis-
ffeKas l/e twi' d<p9a\iiwv Ultra Trvp . . . translation of the Greek \fti/c<5j in its
Possibly the three figures were united sense of ' brilliant ' ;
the object of the
ia an allegory of a storm and formed glazing, then, was to give a brilliant
a votive offering to Zeus xepavyo- surface to the whole picture ; this
PSKos; cf. C. I. G. 1513; /3/)oyraii' and brought the colours into unison, and
Kepavvios, C.I. G. 2641, 3446, 3810, at the same time served the practical
and often. —H. L. U.]. purpose of protecting the painting
§ 97. 5. atramento : the exact from dust.
 /. PAINTING 133

thought to have excelled the lines of Homer that describe the

same scene. He also painted the unpaintable, thunder, for
example, lightning and thunderbolts, /S/joxtij, do-TpaTrij and Kepavi/ofiuKla

as they are called.

All have profited by his innovations, though one of these could 97
never be imitated ; he used to give his pictures when finished
a black glazing so thin that by sending back the light it could
call forth a whitish colour, while at the same time it afforded
protection from dust and dirt, only becoming visible itself on
the closest inspection. In using this glazing, one main purpose
of his was to prevent the brilliance of the colours from offending
the eyes, —the effect was as when they are looked at through talc,
— and also that when seen at a distance those which were vivid to
excess might be imperceptibly toned down.
Aristeides of he was the first 98
Thebes was his contemporary :

among all and gave expression to the 'J'^p^^j,"^

painters to paint the soul,
affections of man —
I mean to what the Greeks call ijdq and also —
the emotions. His colouring is rather harsh. His works are

9. lapidem specularem: xxxvi, Pliny, therefore, to avoid misunder-

160 was a transparent highly lami-
; it standing, gives the Greek word also
nated substance, used also for windows for iffli), while for irofl?; he felt himself
{specularid), cf. Plin. Ef. ii, 17, 4; on safe ground in wsai% perturbationes,

Juv. iv, 21, &c. the translation introduced by Cicero

§88. Aristides Thebanus
12. {Tusc. Disp. iii, 4, 7). Not a few
below, § III he was the second of
; commentators have considered ?i9os,

the name, son of Nikomachos, § 108, iriBos to be incompatible qualities in

and grandson of the first Aristeides, one artist, yet Quinct. shows
(vi, 2, 1 2)

ib., above, § 75. that in a sense iraBos is complementary

omnium primus : note on § 16. to ^Sos, while Ailian (IIoi/c, 'lar. iv, 3)

13. sensus . . . perturbationes especially attributes both qualities to

as O. Jahn points out {Kunsiuriheile, Polygnotos — the dya6is ri6oypd^os.

p. 115), Pliny is here giving a closer (For a thorough and subtle discussion
definition of animus by dividing it of the question cf. O. Jahn, op. cit.

into fi9i\ and 170817, for the first of pp. 105-117.)

which, according to Quinct. vi, 2, 8, 1 5. matris morientis the motive ;

no precise Latin equivalent existed: was employed in sculpture by Epi-

horum (sc. affectuum) autem, sicut gonos (xxxiv, 88). The picture is
antiquitus traditum accefimus, duae described AntA. Pal. vii, 623. The
sunt species: alteram Graeci nddos Plinian passage doubtless inspired the
vacant, quod nos vertentes recte ac group of a dead mother with a young
proprie affectum dicimus, alteram §floi, child seeking her breast, on the left
cuius nomine, ut ego equidem sentio, of the celebrated Morbetto or Pliry-
' ' '

caret sermo Romanus: mores appel- gian Plague engraved by Marc. An-
'

lantur, atque inde pars quoque ilia tonio (reproduced Delaborde, M.

philosophiae ifiiieq moralis est dicta Antoine Raimondi, to face p. 214)
(cf. above, note on mores in § 63). according to general supposition from
 134 C. PLINII SECUNDI NAT. HIST. XXXV
mammam adrepens infans, intellegiturque sentire mater et
timere ne emortuo lacte sanguinem lambat, quam tabulam
Alexander Magnus transtulerat Pellam in patriam suam.
99 idem pinxit proelium cum Persis, centum homines tabula ea
conplexus pactusque in singulos minas denas a tyranno 5

Elatensium Mnasone. pinxit et currentes quadrigas et

suppHcantem paene cum voce et venatores cum captura et
Leontion Epicuri et anapauomenen propter fratris amorem,
item Liberum et Ariadnen spectatos Romae in aede Cereris,
100 tragoedum et puerum in Apollinis, cuius tabulae gratia 10

interiit pictoris inscitia cui tergendam earn mandaverat M.

Junius praetor sub die ludorum Apollinarium. spectata est

a drawing of Raphael. But the draw- the authority of so notorious a liar as

ing in sepia wash and white in the Ptolemaios Chennos. Addenda.
Uffizi (comice 265, no. 525) is only, 6. Mnasone : a pupil and friend
Mr. B. Berenson informs me, a copy of Aristotle, circ. B.C. 349 (Timaios
after an original, now lost, that may apud Athenaios, vi, p.264 D, Ailian,
have been by Perino del Vaga. IIoiK. 'IffT. iii, 19). He was made
3. transtulerat Fellam after the : tyrant of Elateia after the battle of
sack of Thebes in B.C. 335. Chaironeia in B.C. 338.
§ 99. 4. proelium cum Fersis currentes quadrigas votive : offer-
since Aristeides is a contemporary of ings for victories in the chariot course,
Apelles and Alexander, the picturemust cf. note on xxxiv, 71.
have represented one of the battles of 7. supplicantem : making a ges-
this king. It is tempting to identify ture of entreaty, probably the picture
the proelium with the battle of Issos was that of an adorans ; cf. xxxiv, 73,
and to recognize its copy in the famous 90, &c. Cum voce epigr. cf.Introd.
mosaic from Pompei in Naples the : p. Ixxi.
powerfully characterized Alexander, venatores cum captura : note on
the Dareios with his gesture of de- xxxiv, 66 ;
cf. the hunt of Ptolemaios
spairing command are conceptions Soter by Antiphilos in § 138.
worthy of the great master of ^floi and Xieontion Epicuri friend and
8. :

while motives such as the fallen

irdflos, pupil of Epikouros (B. c. 34 1-2 70), and
Persian in the foreground recall the mistress of his favourite pupil Metro-
mater moriens. It is possible, how- doros; she was a rival of Glykera
ever, that the Pompeian mosaic should (Athen. xiii, p. 585 D), who came to
be rather traced back to Aristeides's Athens with Harpalos, B. c. 326.
fellow-pupil Philoxenos (§ log) Aristeides probably painted her not
(Michaelis, y3;4>-*. vii, 1893, p. 134), much later than B.C. 320. Although
whose battle-piece is more closely de- Epikouros did not reside in Athens
fined as proelium cum Dario. It is, at before B.C. 306, it is natural that her
any rate, time to claim the picture for portrait,whenever painted, should be
po\^erful artists such as Aristeides or described as that of the famous 'Leon-
Philoxenos, and to discard the opinion tion Epicuri^ Kroker, Gleichnamige
which attributes it to a lady-painter Gr. Kiinstler, p. 28 ; Uilichs, Rhein.
Helena, reputed indeed tohave Mus. XXV, p. 5 u f. Another portrait
painted a battle of Issos, but only on of her by Theoros below, § 144.
 /. PAINTING 135

a picture of a mother lying wounded to death in the sack of Wounded

a city ; she appears conscious that her babe is creeping towards f "''^ryv"'^
her breast, and afraid lest, now that her milk is dried up, he
should suck blood. This picture Alexander the Great carried off
to his native Pella. He also painted a battle with the Persians ; 99
the picture contains a hundred figures, for each of which Mnason
the tyrant of Elateia had agreed to pay him ten minae [;^3S]
and furthermore a chariot race, and a suppliant whose very accents
we seem to hear, huntsmen with their game, Leontion the pupil
of Epikouros, a girl dying for love of her brother, the Dionysos
and Ariadne now to be seen at Rome in the temple of Ceres, and
a tragic actor and a boy in the temple of Apollo. This picture 100
was ruined through the ignorance of the painter to whom Marcus
Junius as praetor entrusted it to be cleaned before the games of
Apollo. In the temple of Faith on the Capitol was to be seen

anapauomenen . . . amorem sometimes been explained of a tragic

[the subject, which has given rise to actor playing his part with a boy (e. g.
much controversy (see especially Dil- Maas, Ann. d. Inst, 1881, p. 142,
they and L. Urlichs in Rhein. Mus. 155, suggests Priam and Troilos), but
XXV and xxvi) is sufficiently easy to it more probably simply represented

explain by reference to Anth. Pal. vii, an older actor teaching a boy his part
517— for the subject cf. Schreiber, Hell. Rel.
pi. 47, 48 Helbig, VVandgemiilde,
;

Zvoyikvov BatriXw /cdrBave -nafiOfvfK^ 1455 (actor with poet), and the cylixby
avTox^pi' C^ctv yap dSeXifte^v kv tnpl Douris in Berlin (Furtwangler, Vasen,
8daa, ii, 2285), also a similar subject below;
ovK ir\ri. SiSvfjiov S^ot/cos IffcfSe KaK^v an old man with a lyre teaching a
Ttarphs ^ApiffTiiTiroio' Kari]^aiv 5i Ku- boy.
Pn<'V Apollinis : in the temple on the
Tidaa, rhv iVTitcvov xnpov tSoGo'a Campus Flaminius, near the porti-
d6pL0V. cus Octaviae, xxxvi, 34; dedicated
Evidently the anapauomene was a girl B.C. 430, for the removal of a plague
who had died in grief at her brother's (Liv. iv, 25), it remained down to the
death. The picture was a grave pic- age of Augustus the only temple to
ture, an expirantis imago (§ 90), and the god in Rome (Asconius on Cic.
the name anapauomene was doubtless In toga Candida, p. 91). In B.C. 32,
derived from the epigram inscribed C. Sosius dedicated in it a cedar-wood
upon it ava-naifaBai, here of rest in
: statue of the god which he brought
death.— H. L. U.] Introd. p. Ixxi. from Seleukia (xiii, 53) hence the ;

9. spectatos before the fire which

: temple is sometimes called templum
took place in the reign of Augustus, Apollinis Sosiani.
Strabo,viii, p. 381 see note above on
; §100. II. M. Junius: probably
§ 24, where the Dionysos alone is Silanus, cos. B.C. 25.
mentioned. 12. ludorum Apollinarium : held
aede Cereris : note on xxxiv, 1 5. on July 13 ; instituted B.C. 212.
10. tiagoedum et puerum: has
 136 C. PLINII SECUNDI NAT. HIST. XXXV
et in aede Fidei in Capitolio senis cum lyra puenim docentis.
pinxit et aegrum sine fine laudatum, tantumque arte valuit
ut Attalus rex unam tabulam eius centum talentis emisse
101 tradatur. simul, ut dictum est, et Protogenes floruit, patria
ei Caunus, gentis Rhodiis subiectae. summa paupertas 5
initio artisque summa
minor fertilitas. intentio et ideo
quis eum docuerit non putant constare, quidam et naves
pinxisse usque ad quinquagensimum annum, argumentum
esse, quod cum Athenis celeberrimo loco Minervae delubri

propylon pingeretj ubi fecit nobilem Paralum et Hammoni- 10

ada, quam quidam Nausicaan vocant, adiecerit parvolas
naves longas in iis quae pictores parergia appellant, ut appa-
reret a quibus initiis ad arcem ostentationis opera sua
102 pervenissent. palmam habet tabularum eius lalysus, qui
est Romae dicatus in templo Pacis. cum pingeret eum, 15

I. asde Fidei: Livy (i, 21), attri- being forgotten, it was called after
butes its foundation to Numa ; restored the old republican SifffioSirat {Stadt-
B. c. 115 by M. Aemilins Scaunis it ; Geschickte von Athen, p. 2 29). Add.
was on the Capitol, see Gilbert, Rom, The second visit was under his special
iii, p. 399, note 2. patron Demetrios Poliorketes, on the
i. aegrum: votive picture for a occasion alluded to here.
recovery ; for the subject Furtwangler 10. propylon: cf. xxxvi, 32 Cha-
(Jahrb. iii, p. 218) compares an excel- rlies in propylo Atheniensium quas
lent bronze statuette of a sick man (in Socrates fecit; the unusual form
the Cook Richmond).
coll. at propylon for the more familiar propy-
3. Attalus rex vii, 126. = App. I. : laeum or propylaea justifies us in
§ 101. 4. ut dictum est in § 81. : attributing both passages to the same
patria Caunus so also Paus. i, 3, : authority; Vi Achsm-ath, Stadt Athen,
5, Plut. Demelr. 22, while Souidas i, 36, 2 ; Introd. p. 1.

names Xanthos in Lykia as his birth- Faralum et Hammoniada : i.e.

place. the patron-heroes of the two holy

7. quis eum docuerit : cf. Seila- triremes. The Ammonias —
^ toO
nion xxxiy, 51 ; Lysippos, ibid. 61 ; ''Afifjtwvos Upd Tpi-fjp^s — Kenyon's
(see
see Introd. p. xlvi ff. note on Aristotle, 'Afliji/. no\. p. 152)
naves pinxisse : i. e. he would replaced the old Salaminia. The choice
paint the napaaijfia and eiriarjiia of of the name is characteristic of the
Antigonids and their strenuous efforts
9. Athenis : he was probably to keep alive the memory of the
twice at Athens ; Curtins conjectures deified Alexander (Curtius, op. cii.
that his picture of the '
Thesmothetai 233); for the holy triremes cf.
P-
(Pans, i, 3, 5), in the Boukiiterion, Boeckh - Frankel, Siaatsalterthiimer,
was connected with the re-organization P- 3°S ff- ; Boeckh, Seeurkunden, p.
of the vonofvXoKis by Demetrios of 76 ff.

Fhaleron, but that in the days of 11. Ifausicaan: both figures were,
Pausanias, the origin of the picture it seems, united in one picture which
 /. PAINTING 137

a picture of an old man with a lyre teaching a boy. Aristeides

also painted a sick man, a picture never sufficiently praised, and
so great was his name that king Attalos, we are told, paid a
hundred talents [;^2 1,000 circ] for a single picture by his hand.
Protogenes, as I have already said, was a painter of the same 101
Protogenes
date. He was a native of Kaunos, a city subject to Rhodes.
of Kaunos,
The and his scrupulous devotion
great poverty of his early days Obscurity

to his art were the causes that he produced but few pictures. of his
early life.
The name of his master is supposed to be unknown, while some
say that he painted ships until his fiftieth year, and adduce in
proof thereof that when he was at Athens decorating, in the most
celebrated of spots, the gateway to the temple of Athene, for
which he painted his famous Paralos and Hammonias, —a figure

sometimes called Nausikaa, — he introduced some tiny warships

in the part of the picture called the napepyia, purposing to show
the humble origin of the painter whose works had risen to such
a height of glory. Among his pictures the lalysos, dedicated in 102
The
the Temple of Peace at Rome, bears off the palm. The story
'lalysos!

lent itself to interpretation as Odysseus explained by reference to Strabo xiv,

and Nausikaa ; but see C. Torr, Class, p. 652, where it is related that Proto-
Rev. iv, 1890, p. 331. genes was vexed because in his picture
parvolas naves : perhaps along of the Satyr (below, § 105) the admira-
the edge of the picture they were
; tion roused by the partridge had caused
merely ornamental, or, at the most, the work itself -rii ipyov — to become
served to indicate that the hero and a ir&pepyov,
heroine depicted were connected with § 102. 14. lalysus : a Rhodian
ships. C. Torr {loc. at.) suggests hero, after whom the city of 'laAvaos
that the little warships were repre- was named son of Kerkaphos and
;

sented in the background out at sea, Kydippe, whose other sons were the
the figures themselves being in the eponymous heroes Lindos and
foreground upon the shore. In this Kameiros (Pindar, 01. vii, 74). The
case the ' smallness ' was due simply dog shows that lalysos was represented
to the necessities of perspective. as a huntsman. Possibly the picture
The explanation given by Pliny is was one of a cycle of Rhodian heroes,
evidently aitiological, nor is it neces- likewise including the Kydippe and
sary to follow Curtius {loc. cit.) in Tlepolemos (below, § 106). When
bracketing the and taking these
et, Strabo wrote {loc. cil.'), the picture
small triremes to indicate to what ' was still at Rhodes; it was prob-
a height of glory from what — ably brought away by Vespasian
—
small beginnings ship-building had and placed at once in his Temple of
attained. Peace. Plutarch {Dem. 22) says it
12. parergia: diminutive of irap- was already burnt in his day.
fpyov. No specific part of the picture 15. templo Paoia note on xxxiv,
:

is intended, but only a subordinate or 84.

incidental detail. The word is best
 138 C. PLINII SECUNDI NAT. HIST. XXXV
traditur madidis lupinis vixisse, quo simul et famem susti-

neret et sitim nee sensus nimia dulcedine obstrueret. huic

picturae quater colorem induxit contra obsidia iniuriae et
vetustatis, ut decedente superiore inferior succederet. est

in ea canis mire factus ut quern pariter et casus pinxerit. 5

non iudicabat se in eo exprimere spumam anhelantis, cum

in reliqua parte omni, quod difficillimum erat, sibi ipse
103 satisfecisset. displicebat autem ars ipsa nee minui poterat,
et videbatur nimia ac longius a veritate diseedere, spumaque
non ex ore nasci anxio animi cruciatu, cum in
ilia pingi, ; 10

pietura verum esse, non verisimile vellet, absterserat saepius

mutaveratque penieillum, nullo modo sibi adprobans. post-
remo iratus arti, quod intellegeretur, spongeam inpegit
inviso loco tabulae, et ilia reposuit ablatos eolores qualiter
104 eura optaverat, fecitque in pietura fortuna naturam. hoc 15
exemplo eius similis et Nealcen successus spumae equi
similiter spongea inpacta secutus dum celetem pingit ac
poppyzonta retinentem eum. ita Protogenes monstravit et
fortunam. propter hunc lalysum, ne cremaret tabulam,
Demetrius rex, cum ab ea parte sola posset Rhodum capere, 20
non incendit, parcentemque picturae fugit occasio victoriae.
105 erat tunc Protogenes in suburbano suo hortulo, hoc est
Demetrii eastris, neque interpellatus proeliis inchoata opera
1. quo] Traube; qnoniam, codd., Detlefsen. sDStineret] codd.; sustinerent
Detlefsm. 2. obstrueret] ^cot*. ohsXiweTenX religui, Dellefsen.
; 17. dum
celetem pingit acj Traube ; disceret cum pingitnr Bamb. ; dicitur, cum
pingeret, Detlefsen.

3. obsidia iniuriae ao vetus- is told also by Plut. TrepJ Hvxi^t P-

tatis : hendiadys, to avoid the 99 B. ( = Bemardakis I, p. 240) and
awkward co-ordination of genitives; by Val. Max. viii, 11, ext. 7 (without
cf. Patron. 84 nondum vetustatis in- naming the artist). Dio Chrysostom
iuria victus. In spite of the ingenious and Sextus Empiricus (see .5". Q. 1889)
remarks of Berger {Beitrdge, ii, p. 19), tell the story of Apelles.
I think the story of the four coats 17. celetem . . . poppyzonta:
of colour may still be considered for the subject in sculpture cf. (a)
apocryphal. Winter ya;4?-*. viii, 1893, p. 142 ; (*)
§ 103. 15. fortuna: the whole anec- Parthenon W. frieze, viii, 15, 22 {Cat.
dote is an amusing illustration of the p. 180) &c. ; (c) a gem in the Coll.
saying of Agathon (a/. Arist. Nic. Tyskiewiez (Furtwangler Ani. Gem-
Ethics, vi, 4), Tf x"); rvxqv earep^e men, pi. ix, J4).
Kal Tvxt Tex"'!"- Introd. p. xli f. 20. ab ea parte sola cf. vii, 126.:

§ 104. 16. Nealoen : below, The picture was in the temple of

§§ 14a, 145. The following anecdote Dionysos just outside the city (Strabo,
 /. PAINTING 139

runs that while he was painting it he lived on lupins steeped in

water, that he might thus satisfy at once his hunger and his
thirst without blunting his faculties by over-indulgence. He gave
this picture four coats of colour to preserve it from the approach
of injury and age, so that if the first coat peeled off the one below
might take its place. The dog in this picture is the outcome as The foam
it were of miracle, since chance, and not art alone, went to the
%'^ainted
painting of it. The
he had not perfectly rendered by
artist felt that miracle.
the foam of the panting animal, although he had satisfied himself
—a difficult task
in the rest of the painting. —
It was the very 103
which displeased him and which could not be concealed, but
skill

obtruded itself too much, thus making the effect unnatural ; it

was foam painted with the brush, not frothing from the mouth.
Chafing with anxiety, for he aimed at absolute truth in his paint-
ing and not at a makeshift, he had wiped it out again and again,
and changed his brush without finding any satisfaction. At last,

enraged with the art which was too evident, he threw his sponge
and the sponge left on the picture the colours
at the hateful spot,
ithad wiped off, giving the exact effect he had intended, and
chance thus became the mirror of nature. Nealkes likewise 104
once succeeded in rendering the foam of a horse in the same jialtem^o
way, by throwing his sponge at the picture he was painting of a horse in

a groom coaxing a race-horse. Thus Protogenes even taught the

1y''^"alkes
uses of fortune. It was to preserve this lalysos that king Demetrios
refrained from setting fire to the city, which was open to attack

on that and by sparing the picture he forfeited his

side only,
chance of victory. At the time of the siege Protogenes was living 105
in his little garden beyond the walls, within the lines of Demetrios.
He did not allow the war to interrupt his work, but went on with Generosity
the pictures he was painting, except when summoned to the "f P^"'^'
presence of the king, and when asked what gave him courage to towards
Protogenes.

loc. cit.) ; for a fuller accotmt of the story, which recurs in a variety of
the episode see in especial Plutarch, forms, is suspicious thus Archimedes
:

Dem. 22 ; the story has little historical was found quietly drawing geometric
credibility, but, as Helbig {Unters. figures when the Romans stormed
p. 181) points out, serves to emphasize Syracuse (Liv. xxv, 31, 9) in modem ;

the love of art which characterized times the painter Parmegianino was
' the most genial of the Diadochoi.' found calmly painting a Madonna
Khodum : i. e. the new city when the Spanish and Dutch troops,
founded in B. c. 408 j for the siege cf. under Constable of Bourbon, stormed
xxxiv, 41. Rome in 1527, &c.
§ lOS. 22. erat tunc Fiotogenes :
 I40 C. PLINII SECUNDI NAT. HIST. XXXV
intermisit omnino nisi accitus a rege, interrogatusque qua
fiducia extra muros ageret respondit scire se cum Rhodiis
illi bellum esse, non cum artibus. disposuit rex in tutelam
eius stationes, gaudens quod posset manus servare quibus
pepercerat, et ne saepius avocaret, ultro ad eum venit hostis 5

relictisque victoriae suae votis inter arma et murorum ictus

spectavit artificem, sequiturque tabulam illius temporis haec
106 fama, quod eam Protogenes sub gladio pinxerit. Satyrus
hie est quern anapauomenon vocant, ne quid desit temporis
eius securitati, tenentem tibias. fecit et Cydippen, Tlepo- 10
lemum, Piiiliscum tragoediarum scriptorem meditantem et
athletam et Antigonum regem, matrem Aristotelis philo-
sophi, qui ei suadebat ut Alexandri Magni opera pingeret
propter aeternitatem rerum. impetus animi et quaedam
artis libido in haec potius eum tulere. novissime pinxit 15
Alexandrum ac Pana. fecit et signa ex aere, ut diximus.
107 eadem aetate fuit Asclepiodorus, quem in symmetria mira-
batur Apelles. huic Mnaso tyrannus pro duodecim diis
dedit in singulos mnas tricenas, idemque Theomnesto in
108 singulos heroas vicenas. his adnumerari debet et Nico- 20
machus Aristidi filius ac discipulus. pinxit raptum
Proserpinae, quae tabula fuit in Capitolio in Minervae
delubro supra aediculam luventatis, et in eodem Capitolio,

21. Aristidi] Urlichs in Chrestom.; aristiaci Bamb, Detlefsen; aristicheimi

Riccard; ariste //// Voss.\ ariateclieimi Z?^f.

§ 106. 9. ne . . securitati
. : (Benndorf-Schone,245 = Helbig,C&ri.
Strabo describes the Satyr as leaning Ant. 663) is a copy of Protogenes'
on a column, apparently somewhat in picture is quite uncertain,
the scheme of the celebrated 'Resting 12. Antigonum regem: painted
Satyr 'by Praxiteles,Helbig,C/ojj./i»/. by Apelles, above, §§ 90, 96.
525. Furtwangler,Afer/«?7tjV«j,p. 329. matrem Aristotelis: her name
10. Cydippen, Tlepolemum : was Phaestis. Cf. Introd. p. Ixi.
above, note on lalystis in § 102. 16. Alexandrum ao Pana : prob-
Tlepolemos led the Rhodian contin- ably Alexander was represented as
gent to Troy (//. ii, 653). Dionysos, to whom, according to the
11. Philisoum trag. script.: he legend, Pan acted as shieldbearer
was a native of Kerkyra. According during his progress through India,
to»Athen. V, 198 c hetookpart in the Lucian, Z'zVjk/j. 2; Helbig, Unter-
great iro/iTri} of Ptolemy Philadelphos, suchungen, p. 50.
B. C. 284, in virtue of his office of ut diximus xxxiv, % 91.
:

priest of Dionysos. The theory that § 107. 17. Asclepiodorus above,

:

the beautiful relief in the Lateran § 80 ; he may be identical with the

 /. PAINTING i4t

remain outside the walls, he replied that he knew the king was
making war against Rhodes, not against art. Demetrios placed
and took a pride in protecting the artist
sentinels to guard him,
he had spared. Unwilling to call him from his work, Demetrios,
enemy though he was, visited him in person, and in the midst
of arms and of assaults neglected his hopes of victory to watch
the painter. Hence comes the saying about the picture which
Protogenes was engaged on at the time, that he had painted it
under the sword. This is the Satyr called the avanavotievos [resting], 106
and he is holding the pipes, to emphasize the painter's sense of
moment. He also painted a Kydippe, and a Tle-
security at the
polemos, Philiskos the tragedian in meditation, an athlete, a
portrait of king Antigonos, and the mother of Aristotle the philo-
sopher, who had tried to persuade him to paint the exploits of
Alexander the Great, on the ground that they deserved immor-
tality, but the natural turn of his genius, and his artist's caprice

drew the painter rather to these other themes. Alexander and

Pan were the last subjects he ever painted ; as already noted, he
also made bronze statues.
The Asklepiodoros whose knowledge of symmetry was praised 107
by Apelles, belonged to the same epoch ; the tyrant Mnason
jly^f"''
gave him thirty minae [loo guineas circ] for each of his twelve
gods, and to \Ttieomnestos twenty minae [^70 circ] for each of
his heroes.
We must rank with these artists Nikomachos, the son and pupil 108

of Aristeides. He painted the rape of Persephone, which was in ^^o""'-

the temple of Minerva on the Capitol, above the little chapel of Aristeides.

sculptor xxxiv, 86. He must have held 21. Aristidi: i.e. the Elder, cf.

a high position, since Plutarch, Glor. above, 5 7.5 ; Urlichs' reading is con-
Athen. 2, mentions him along with firmed by the fact that whereas in § no
Apollodoros (above, Enphranor
§ 60), Ariston appears as brotherand pupil of
(below, 5 1281; Nikias (§ 132), and Nilcomachos, he appears in § ni as
Panainos(§ 59), as one of the masters a son and pupil of Aristeides, hence
who made Athens glorious through Nikomachos too must have been the
their paintings. son of an Aristeides, Kroker, Gleich-
18. Mnaso : above, note on § 99. namige Gr. Kilnstler, p. 26.
§ 108. 20. Wioomaohua : the raptum Proserpinae : for the
mention in Cic. Brutus, 1 8, 70, is subject cf. note on xxxiv, 69.
alone sufficient to prove his high 22. fuit: before the fire of 69 A. D.;
reputation, yet his works are known above, note on xxxiv, 38.
from Pliny only; to the list given 23. aediculam luventatis : in the

here must be added the unfinished actual cella of Minerva, near the statue
Tyndaridai, in § 145. of the goddess; the cult of luventas,
 14a C. PLINII SECUNDI NAT. HIST. XXXV
quam Plancus imperator posuerat, Victoria quadrigam in
sublime rapiens. Ulixi primus addidit pilleum. pinxit et
109 Apollinem ac Dianam, deumque matrem in leone sedentem,
item nobiles Bacchas obreptantibus Satyris, Scyllamque
quae nunc est Romae in templo Pacis. nee fuit alius in ea 5

arte velocior. tradunt namque conduxisse pingendum ab

Aristrato Sicyoniorum tyranno quod is faciebat Telesti
poetae monimentum praefinito die intra quern perageretur,
nee multo ante venisse tyranno in poenam accenso paucisque
110 diebus absolvisse et celeritate et arte mira. discipulos 10
habuit Aristonem fratrem et Aristiden filium et Philo-
xenum Eretrium, cuius tabula nullis postferenda Cassandro
regi picta continuit Alexandri proelium cum Dario. idem
pinxit et lasciviam, in qua tres Sileni comissantur. hie
celeritatem praeceptoris secutus breviores etiamnum quas- 15
111 dam picturae conpendiarias invenit. adnumeratur his et
Nicophanes elegans ac concinnus ita ut venustate ei pauci
conparentur. cothurnus ei et gravitas artis multum a
like that of Terminus (in the same {Nikomachos, p. 20 ff.) that the com-
temple) was one of the oldest in position survives on a beautiful gem
Rome ; Liv. i, 4 v, 54, 7 for
55, ; ; signed Fov<j>os {Jahrb. iii, 1888, pi. xi,
full literature cf Wissowa, ap. Roscher, 10), in St. Petersburg, representing
ii, pp. 666, 708, s. V. Jupiter ; ib. Nike with outspread wings, bearing
p. 764, s.v. Juventas. away a team of four horses. This
I. Flancus imperator : sc. L. theory is confirmed by the fact that
Munatius, triumphed B. c.43 (for his the composition is repeated on the
assumption of the title oiimperatorci. coins of the gens Flautia (Babelon,
Cic. Phil, iii, 38, and the letters of Monnaies de la Rip. Rom. ii, p. 325).
Flancus, ap. Cic. ad Fam. li, 8 ; 24). The painting of Nikomachos was of
His brother L. Plautius Plancus course a votive offering for a victory
(adopted by L. Plautius) struck in B.C. in the chariot race. '
Instead of the
45 a coinage with a type of Nike and usual traditional type, in which the
horses, wliich is apparently a copy of winner appears crowned
in his chariot
the picture by Nikomachos (see next by Nike standing in
victory, or else
note and cf. Helbig, Untersuchungen, the chariot guides the horses, Niko-
p. 154). Furtwangler {Jahrb. iv, machos ventured on a daring inven-
1889, p. 62) hence suspects an error on tion ignoring the chariot and the
;

the part of Pliny in naming the more earthly chariot course, he painted tlie
famous Flancus Imp. as dedicator of triumphant horses as they are borne
the statue. aloft to victory by Nike herself.'
Victoria ctuadrigam in Bub- (F-)
lime rapiens Furtwangler {loc. cit.)
: 2. primus
rriixi Servins on :

emphasizes the opinion already ex- .^e«ezcf 44 (Thilo i, p. 2221 huic

ii,

pressed by Panofka (13th Winckel- Ulixi primus Nicomackus pictor pilleo

mannsprogramm) and Schuchardt caput texisse fertur, but the Schol.
 7. PAINTING 143

Youth, and a Victory snatching up to Heaven a team of horses

this was also to be seen in the Capitol, where Plancus had dedi-
cated it when general. He was the first to give a cap to Ulysses.
He an Apollo and Artemis, a Mother of the Gods 109
also painted
seated on her lion, a celebrated picture of Mainades with Satyrs
stealing upon them, and a Scylla now at Rome in the temple of
Peace. No artist surpassed him in rapidity of execution. It His

is said, for instance, that com- ''??'^"«0'-

Aristratos, tyrant of Sikyon,
missioned him to paint before a fixed day the monument which
he was raising to the poet Telestes ; Nikomachos arrived only
a little before the appointed time, and the tyrant in his annoyance
wished to punish him, but the painter finished the work in a few
days with a promptitude as marvellous as his success. His pupils 110
were his brother iAriston, his son Aristeides and iPhiloxenos of
Eretria, who painted for king Kassander the battle between
Alexander and Dareios, a picture second to none ; he also painted
a scene of revelry in which three Seilenoi are making merry. He
imitated the swiftness of his master, and himself invented some
shortened methods of technique. We must include in this list 111
Nikophanes, a painter at once graceful and precise, whose delicacy V?
few can equal, though he lacks the grandeur and dignity found in

on Iliad x, 265 attributes the in- of Selinos, who had apparently mi-
novation to ApoUodoros. grated to Sikyon (Athen. xiv, p. 616,
3.Apollinem ao Dianam agroup. : 625). In B.C. 401 he won the first
deumque matrem i. c. Kybele : prize at Athens.

sitting on her lion, as for instance §110. 11. Aristidemfllium : i.e.

on the Pergamene frieze, and on the Aristides Thebanus, above, § 98, cf.

frieze from the temple at Priene (frag- below, §111.

ment in Br. Mus.). 12. Cassandro regi : B.C. 306-
§ 109. 4. nobiles Baoohas ob- 296.
rept. Sat. : for the subject, cf. Wand- 13. proelium cum Dario : at Issos

gemcilde, 542-556 ; Schreiber, Hell. in B.C.43.^, or Gaugamela in B.C.

Reliefs , xxiv. None of these com- 431. See note above oa proelium cum
positions can, however, be referred Persis, in § 99.

with certainty to Nikomachos. :6. oompendiarias : what this

Soyllamque: Schuchardt {Niko- 'shortened method' may have been

Patron. 2
machos, p. 40 ff.) proposes to recog- it is impossible to tell ; cf.

nize a copy of the picture of Niko- pictura quoque non alium exitum
machos in the Scylla., Man. d. Inst, fecit, postquam Aegyptiorum audacia

iii pi. liii, 3 = Helbig, Wandgemdlde, tarn magnae artis compendiariam in-

1063 the same composition recurs

;
venit. See Addenda,
on coins struck by S. Pompeius. § 111. 17. Wioophanea : below,

7. Aristrato:
tyrant of Sikyon, 01. § 137 ; adnumeratur his, because he
105 = B.C. 360-357. belongs to approximately the same
Telesti a dithyrambic poet, native
: date.
 144 C. PLINII SECUNDI NAT. HIST. XXXV
Zeuxide et Apelle abest. Apellis discipulus Perseus, ad
quern de hac arte scripsit, huius fuerat aetatis. Aristidis
Thebani discipuli fuerunt et filii Niceros et Ariston, cuius
est Satyrus cum scypho coronatus, discipuli Antorides et
Euphranor, de quo mox dicemus. 5
112 Namque subtexi par est minoris picturae celebres in
penicillo, e quibus fuit Piraeicus. arte paucis postferendus
proposito nescio an destruxerit se, quoniam humilia quidem
secutus humilitatis tamen summam adeptus est gloriam.
tonstrinas sutrinasque pinxit et asellos et obsonia ac similia, lo
ob haec cognominatus rhyparographos, in iis consummatae
voluptatis, quippe eae pluris veniere quam maximae multo-
118 rum. e diverse Maeniana, inquit Varro, omnia operiebat
Serapionis tabula sub Veteribus. hie scaenas optime pinxit,
sed hominem pingere non potuit. contra Dionysius nihil 15

aliud quam homines pinxit, ob id anthropographos cogno-

114 minatus. parva et Callicles fecit, item Calates comicis
tabellis, namque et Hesionam nobilem
utraque Antiphilus.
pinxit et Alexandrum ac Philippum cum Minerva, qui sunt
in schola in Octaviae porticibus, et in Philippi Liberum ao

a. de . . . arte scripsit: above, § 113. 13. e diverso : in contra-

§ 79, Introd. p. xl. diction to the small pictures by Peirai-

Aristidis Thebani: above, §§ 98- kos.
100, no; he appears here as master Maeniana: maeniana appellata
of Nikeros-Enphranor, by confusion sunt a Maenio censore qui primus in
with his grandfather Aristeides I, foro ultra columnas tigna proiecit, quo
above, note on % 108. ampliarentur superiora spectacula,
5. Euphranor: he is erroneously Festus, 134. This derivation is prob-
made a pupil of Aristeides of
into ably correct, though the word soon
Thebes, whereas he was the pupil of became a common appellative, cf.
the older Aristeides, above, § 75. mox Vitruvius, v, i, i. Jordan (7i/. (/«>-

dicemus, in § 128. Stadt Rom, vol. i, part 2, p. 383,

§ 112. 7. Piraeicus = ntipoi'mis fr. note 94) believes that Pliny alludes to
neipaietjs,Helbig, Untersuch. 366 ff. a temporary exhibition of a picture by
This artist is still known only from Serapion, and not to painted decora-
Pliny, the Pireicus of Propert. iii, 9, tions of the maeniana. The date of
12, which rested on mere interpola- Serapion is unknown, except that it
tion, having been abandoned for Par- must have been previous to Varro,
rhasius by recent editors Parrhasius : from whom the information as to his
parva vindicat arte locum. pictures is derived.
10. tonstrinas sutrinasque: cf. inquit Varro: from whom §§ i la-
the lanificium by Antiphilos in § 138, 114 appear to be almost wholly de-
the workshops by Philiskos and Simos rived, Miinzer, op. cit. p. 540 f.

in § 143. 14. sub Veteribus : note on § 25.

 I. PAINTING 145

Zeuxis and Apelles. Perseus, the pupil to whom Apelles dedicated

his book on art, also belongs to this period. The pupils of
Aristeides of Thebes were and i Arts ton (by the
his sons \Nikeros Pufils of
second of whom ^"^'^i'^"-
we have a crowned Satyr holding a cup) and also
\Antorides and Euphranor, of whom I shall speak presently.
It is well to add an account of the artists who won fame with 112
the brush in painting smaller pictures. Amongst them was S^'^^^j
\Peirdikos. In mastery of his art but few take rank above him, Peiraikos.

yet by his choice of a path he has perhaps marred his own success,
for he followed a humble line, winning however the highest glory
that it had to bring. He painted barbers' shops, cobblers' stalls,

asses, eatables and similar subjects, earning for himself the name
of pvirapoypdipos [painter of odds and ends]. In these subjects he
could give consummate pleasure, selling them for more than other
artists received for their large pictures. As a contrast, Varro 113
mentions a picture by iSerapi'on which covered the whole of the Serapion.
balconies by the Old Shops. This Serapion was an excellent
scene-painter, but could not paint the figure. Dionysios on the Dionysios,
contrary painted figures only, and was called dvdpanroypcKpos [painter iAe 'painter
«^'»^»-'
of men].
Kallikks also painted small pictures, and so did '^Kalates, who 114
chose comic subjects ; while Antiphilos painted in both styles, his ^y^^^'-
being a famous Hesione, and the picture of Alexander and Philip Antiphilos.

with Athene now to be seen in the ' schools ' of the gallery of
Octavia. In the gallery of Philip are his Dionysos, his young

15. Dionysius : probably identical § 1 38 as n painter in encaustic. He

with the portrait painter named § 148, was an Alexandrian and a rival of
but not to be confused with the painter Apelles (above, note on §89). Quinc-
Dionysios of Kolophon, a contempo- tilian (xii, 10, 6) praises him for his
rary of Polygnotos (Arist. Poet. 2). facility {facilitate Antiphilus) ; he is

§ 114. 17. parva et Callioles: probably one of those who introduced

known besides only from the following that ars compendiaria (above, § no,
passage of Varro, neque ille Callicles cf. on Pausias, in § 124), with the
quaterniim digitum tabellis nobilis invention of which Petronius charged
cum esset /actus, tamen in pingendo the Egyptians.
adscendere potuit ad Euphranoris Hesionam : probably her deliver-
altitudinem, Varro, de Vita P. R. i, ance by Herakles. For the subject cf.

ap. Charisius, p. 126, 25. the large picture, Helbig, Wandge-

comicis: i.e. in subjects borrowed mdlde, 11 29.
from comedy, cf. § 140. 19. Alex, ac Phil, cum Minerva:
18. utraque: i.e. both small and probably on a chariot, with Athena
large pictures ; Urlichs, Chrest. p. 367. acting as charioteer, Furtwangler,
Antiphilua : appears again in Jahrb, iv, 1889, P- 8^> °°'^ 42-
 146 C. PLINII SECUNDI NAT. HIST. XXXV
patrem, Alexandrum puerum, Hippolytum tauro emisso
expavescentem, in Pompeia vero Cadmum et Europen.
idem iocosis nomine Gryllum deridiculi habitus pinxit, unde
id genus picturae grylli vocantur. ipse in Aegypto natus
115 didicit a Ctesidemo. decet non sileri et Ardeatis templi s

pictorem, praesertim civitate donatum ibi et carmine quod

est in ipsa pictura his versibus
Dignis digna. Loco picturis condecoravit
reginae lunonis supremi coniugis templum
Plautius Marcus, cluet Asia lata esse oriundus, lo

quem nunc semper ob artem hanc Ardea laudat,

et post
lie eaque sunt scripta antiquis litteris Latinis non fraudando et ;

Studio divi Augusti aetate qui primus instituit amoenissi-

mam parietum picturam, villas et portus ac topiaria opera,
lucos, nemora, coUes, piscinas, euripos, amnes, litora, qualia 15

quis optaret, varias ibi obambulantium species aut navigan-

tium terraque villas adeuntium asellis aut vehiculis, iam
piscantes aucupantesque aut venantes aut etiam vindemi-
117 antes, sunt in eius exemplaribus nobiles palustri accessu
villae, succollatis sponsione mulieribus labantes trepidis quae 20

feruntur, plurimae praeterea tales argutiae facetissimi salis.

12. Latinis, non Detlefsen.

1. Hippolytum tauro emisso; i, p. 1414, are probably influenced

under the influence of the Euripidean more or less remotely by the composi-
play, Kalkmann, A. Z. 1883 (41), tion of Antiphilos.
p. 43 ff. 3. Gryllum: the name, which was
2. in Pompeia; note on § 59. and of one of the
that of the father
Cf. again Varro, de Re Rust, iii, a, 5, sonsofXenophon.wascommonenough.
and Miinzer, loc. cit. ; Introd. p. Ixxxiv. The deridiculus habitus must have
Cadmum et Europen : its great been in allusion to jpvKXos = a dancer
reputation is apparent from Martial of the y[mXiaii6s, in which the per-
il. 14> 3j who uses the name of the formers were originally masked as
picture synonymous for the por-
as pigs,though in time the term seems
ticus Pompeia {currit ad Europen). to have come to include every kind of
The picture, which was doubtless ori- wanton dancing (see Phrynichos, ed.
ginally in Alexandria, may, as Helbig Lobeck, p. loi). Such performances
(
Untersucli. p. 2 24 f ) points out, have were especially in favour at Alex-
inspired Moschos during his stay in andria, so that it is natural to find
that city to write the famous descrip- such a subject influencing an Alex-
tion in Idyll i, 125 ff. A number of andrian artist (cf. Urlichs, ZJaj ,4ii72«?-««

extant later representations of the Pferd, p. 20 f).

mylh — the most celebrated of which § 115. 5. Ctesidemo ; below,
is the mosaic from Palestrina, Roscher, § 140.
 /. PAINTING 147

Alexander, and Hippolytos terrified at the bull sent up from the

sea, and Pompeius his Kadmos and Europa.
in the gallery of
Among his one of a man called Gryllos in a
comic pictures is

ridiculous costume, from which all such pictures are called ypiWoi.
Antiphilos was born in Egypt, and studied under iKtesidemos.
x'tesid^mZ.
ought not to pass over in silence the painter of the temple at 115
I ^y^Ol"
Ardea, especially as he was honoured by receiving the citizenship ^J-^ V (

of the town and the following verses written on the picture To ^f^ :
'

the deserving be due honour paid. The temple of queenly Juno, (

wife of the almighty, did Lykon adorn with paintings, even Plautius Piautius
Marcus, born in wide Asia, whom for this his art Ardea praises ^""^'"^
' ^ Lykon.
now and for ever more.' The lines are in old-fashioned Latin
characters.
Nor must I neglect \Studius, a painter of the days of Augustus, 116
•^'^'"^""•
who introduced a delightful style of decorating walls with repre-
sentations of villas, harbours, landscape gardens, sacred groves,
woods, hills, fishponds, straits,streams and shores, any scene in
short that took the fancy. In these he introduced figures of people
on foot, or in boats, and on land of people coming up to the
country-houses either on donkeys or in carriages, besides figures
of fishers and fowlers, or of hunters or even of vintagers. Among 117
his works we know well the men approaching a villa through
a swamp, and staggering beneath the weight upon their shoulders
of the terrified women whom they have bargained to carry over,
with many other scenes of like vivacity and infinite humour. He
Ardeatis templi : Verg. Aen. vii, ff.) appears that the painting of
it

41 1 ff. ; cf. above, §17. topiaria of era was older than the age
8. Loco = AvKoiv; in addition to of Augustus. Studius gave it a new
his Greek name he would, on recelv- impulse or perhaps made it for the
ing the citizenship of Ardea, assume first time really fashionable at Rome,

the name of Plautius Marcus. M. 15. topiaria opera: in Livia's

HeiiT^'m Index Lect.Vratislav.{\^6'j), Villa at Prima Porta the walls of one
suggests that he may hare been both room were decorated with the plan of
painter and poet, as was Pacuvius a garden (see Antike Denkmdler, i, pi.
(above, and that he is identical
§ 19), 11,24), and afford an excellent example
with/'/o«rt'aj, a writer whose comedies of the style of Studius (Brunn, Bull.
passed under the name of Plautus, p. 81 ff.) ; cf. also, Helbig,
1863,
Varro, a/. A. Gellius, iii, 3, 3. The in- Untersuchungen, p. 62. Pliny the
scription on his picture being in hexa- younger (^Ep. v, 6, 22) describes
meter, he cannot be dated earlier than a bedroom in his villa as follows :

Ennius (B.C. 239-169); cf. Mommsen, nee cedit gratiae marmoris ramos in-
Rbm. Gesch ed. 7, i, p. 941 note. cidentesque ramis aves imitata pictura.
§116. qui primus13. note on : §117- 19. exemplaribus : sc. in-
§16: as a fact from Vitruvius vii, 5, genii ; 74 ingenii
cf. § exempla.
. . .

(cf. Rhein. Miis. xxv, 1870, p. 394 21. argutiae: §67; xxxiv, 65.
L %
 148 C. PLINII SECUNDI NAT. HIST. XXXV
idem subdialibus maritimas urbes pingere instituit, blandis-
118 simo aspectu minimoque inpendio. sed nulla gloria artifi-
cum est nisi qui tabulas pinxere, eo venerabilior antiquitatis
prudentia apparet. non enim parietes excolebant dominis
tantum, nee domos uno in loco mansuras quae ex incendiis 5

rapi non possent. casa Protogenes contentus erat in hortulo

suo, nulla in Apellis tectoriis pictura erat. nondum libebat
parietes totos tinguere, omnium eorum ars urbibus excuba-
119 bat pictorque res communis terrarum erat. fuit et Arellius
Romae celeber paulo ante divum Augustum, ni flagitio 10

insigni corrupisset artem, semper ei lenocinans cuius feminae

amore flagraret, ob id deas pingens, sed dilectarum imagine.
120 itaque in pictura eius scorta numerabantur. fuit et nuper
gravis ac severus idemque floridus et vividus pictor Famu-
lus, huius erat Minerva spectantem spectans quacumque 15

aspiceretur. paucis diei horis pingebat, id quoque cum

gravitate, quod semper togatus, quamquam in machinis.
career eius artis domus aurea fuit, et ideo non extant

exempla alia magnopere. post eum fuere in auctoritate

Cornelius Pinus et Attius Priscus, qui Honoris et Virtutis 20
aedes Imp. Vespasiano Aug. restituenti pinxerunt, Priscus
antiquis similior.
121 Non est omittenda in picturae mentione Celebris circa
A.u.c. 711- Lepidum fabula, quodam loco
siquidem in triumviratu
718.
deductus a magistratibus nemorosum hospitium minaciter
in 25
cum iis postero die expostulavit somnum ademptum sibi
volucrum concentu, at illi draconem in longissima membrana

14. floridls (floridus e corr.) umidns Bamb., corr. Traube ; floridissimus

Urlichs in Chrest., Detlefsen.

I. subdialibus: cf. xxxvi, 186. in his person (cf. below, «<ot ^aOTto«,
§ 118. 4. excolebant dominis : togatus), whereas his painting was
private patrons, cf. in § 30 (colores) floridus and mviius ; the adjectives
quos dominus pingenti praestat ; in are transferred from the colour to the
§ 44 « reliquis coloribus quos a do- painter,cf. § 134 austerior colore,
minis dari diximus . . . though austerus like floridus was
* 6. casa in hortulo above, § 105.: a technical qualification of certain
The ' cottage ' doubtless belonged to colours, sunt autem colores austeri
the same class of loci communes as the autfloridi, § 30.
a»Ki (note on § 81). 17. quod semper togatus: so
§ 120. 14. gravis ao severus i.e. : Vandyck painted in full dress.
 /. PAINTING 149

also brought in the fashion of painting seaside towns on the walls

of open galleries, producing a delightful effect at a very small cost.
No artists, however, enjoy a real glory unless they have painted 118
easel pictures,and herein the wisdom of past generations claims
our greater respect. They did not decorate walls to be seen only
by their owners, nor houses that must always remain in one place
and could not be carried away in case of fire. Protogenes was
content with a cottage in his little garden, and no fresco was to be
seen in the house of Apelles. It was not yet men's pleasure to

dye whole surfaces of wall ; all the masters laboured for the cities,
and the artist was the possession of the whole world.
Not long before the time of the god Augustus, Arellius had 119
^''""''^
earned distinction at Rome, save for the sacrilege by which he
notoriously degraded his art. Always desirous of flattering some
woman or other with whom he chanced to be in love, he painted
goddesses in the person of his mistresses, of whom his paintings
are a mere catalogue. The painter •^Famulus also lived not 12'p
^'^'""""
long ago ; he was grave and severe in his persoUj while his
painting was rich and vivid. He painted an Athena whose eyes
are turned to the spectator from whatever side he may be looking.
Famulus painted for a few hours only in the day, and treated his
wearing the toga, even when mounted on
art seriously, always

scaffolding. The Golden House was the prison of his art, and
hence not many examples of it are known. After him \ Cornelius Cornelius

Pinus and -[AUius Priscus were painters of repute, who painted 2uius
the twin temples of Honour and Virtue when they were restored Prisms.
by the emperor Vespasian Augustus. Priscus approached more
nearly to the old masters.
While on the subject of painting must not omit the well- 121 I

known story of Lepidus. Once during his triumvirate he had fscare^'^

been escorted by the magistrates of a certain town to a lodging in crow,'
the middle of a wood, and on the next morning complained with ^^J„j
threats that the singing of the birds prevented him from sleeping.
They painted a snake on an immense strip of parchment and
stretched it all round the grove. We are told that by this means

macliinis 1 here of scaffolding, 20. Honoris et Virtutis aedes :

Bliimner, Technol. iv, 430 ; for bnilt or rather restored by Marcellus,

machma = e&se\, above, § 81. in B. C. 212, to contain part of the art

18. career eius artis : for Pliny's treasures brought from Syracuse, Liv.
hatred of Nero cf. above, § 51 ; xxxiv, xxv, 40, cf. xxvii, 25 ; Cic. Verr. II, iv,

4g, 84. 54, 120 ; Gilbert, Kom, iii. p. 97 f.

 ISO C. PLINII SECUNDI NAT. HIST. XXXV
depictum circumdedere luco eoque terrore aves tunc siluisse

narratur et postea potuisse compesci.

122 Ceris pingere ac picturam inurere quis primus excogita-
verit non constat, quidam Aristidis inventum putant postea
consummatum a Praxitele, sed aliquanto vetustiores encau- 5
stae picturae exstitere, ut Polygnoti et Nicanoris ac Mnasilai
Pariorum. Elasippus quoque Aeginae picturae suae in-

scripsit iviKaev, quod profecto non fecisset nisi encaustica

inventa.
123 Pamphilus quoque Apellis praeceptor non pinxisse solum 10

encausta sed etiam docuisse traditur Pausian Sicyonium

primum in hoc genere nobilem. Bryetis filius hie fuit eius-
demque primo discipulus. pinxit et ipse penicillo parietes
Thespis, cum reficerentur quondam a Polygnoto picti,
multumque conparatione superatus existimabatur, quoniam 15

124 non suo genere certasset. idem et lacunaria primus pingere

instituit, nee camaras ante eum taliter adornari mos fuit.

parvas pingebat tabellas maximeque pueros. hoc aemuli

interpretabantur facere eum, quoniam tarda picturae ratio
asset ilia, quamobrem daturus et celeritatis famam absolvit 20

uno die tabellam quae vocata est hemeresios puero picto.

125 amavit in iuventa Glyceram municipem suam, inventricem
coronarum, certandoque imitatione eius ad numerosissimam
florum varietatem perduxit artem illam. postremo pinxit

§ 122. 3. ceris pingere . . is awkwardly dragged in a second

inurere : i. c. encaustic ; note on time, in order to introduce his pupil
§ 149. Pausias, who in the original Greek
4. quidam . . . inventum : for this account, where no arbitrary division
variant tradition, Introd. p. xxxiii. seems to have been drawn between
Aristidis : presumably the first of the painters in encaustic and others,
the name, above, § 75. would certainly be discussed in con-
5. oonsumm. a Praxitele who : nexiou with his master and his con-
would use encaustic for the czV^iw/zWo temporaries of §§ 75-76, Introd.
of his statues (below, § 133). p. xxxiv.
6. Polygnoti: above, 5§ 58-59. pinxit
13. .certasset: this
. .

8. Iv^KMv : cf. above, § 27. mention of wall-paintings shows that

§ Pamphilus §§ 75-76.
123. 10. :
encaustic was not treated separately
We now come agam upon distinct by the Greek authors,
traces of Xenokrates. Stress is laid 14. Thespis the wall paintings
:

uponthepre-emmenceofSikyon,and by Polygnotos had probably been

the pamters are connected with defi- injured at the destruction of Thespiai
nite stages of progress. Pamphilos by the Thebans in B. c. 374. The
 /. PAINTING 151

they terrified the birds into silence and that this has ever since
been a recognized device for quieting them.
We do not know with certainty who first invented the art of 122
painting with wax colours and burning in the painting. Some ^''f'^"^'''
believe that it was invented by Aristeides and afterwards brought
to perfection by Praxiteles, but encaustic paintings of a somewhat
earlier date exist, for example, by Polygnotos, and by tNikanor
and tMnasilaos of Pares. fElasippos of Aigina also wrote on one
of his paintings ivUacv [burnt it in], which he certainly would not
have done before the invention of encaustic painting.
Tradition further says that Pamphilos the master of Apelles 123
not only painted in encaustic but also taught Pausias of Sikyon, f'''Jf'"l'l
the first well-known master in this style. Pausias was the son of to, and by
\Bryetes, under whom he first studied. He also painted with the ^f"""'
brush certain walls at Thespiai, which had originally been painted
by Polygnotos and needed restoration. His work was held to
suffer very greatly by the comparison, as he had competed in
a style that was not his own. He was the first to paint panelled 124
ceilings, nor was it the practice to decorate vaulted roofs in this

way before his day. He habitually painted small pictures, boys

being his favourite subject. His rivals declared that this was
because his method of encaustic painting was slow, whereupon he
determined to acquire a reputation for rapid execution, and
painted in a single day a picture of a boy called the rjiiepfia-ios

[day's work]. As a youth he loved his townswoman Glykera, 125

who first invented flower wreaths. By copying and rivalling her ^b^''"',

he enabled encaustic painting to represent a great variety oi girlfieloved

flowers. Finally he painted a portrait of Glykera herself seated °f^<^""''^-

restoration of the paintings would praise for swiftness bestowed upon

take place on the restoration of the Nilcomachos, § top,and his pupil
city, after the capture of Thebes by Philoxenos, § no; upon Iaia,in§ 148,
Alexander in 335 B. c. and Quinctilian's estimate of Anti-
§124. 16. idem et laounaria philos (note on § 114).
primus: 'Funvi'i.ngltr {Fleck. Jahrb. § 125. 22. Glyceram ; xxi, 4,
xxii, 1876, p. 507) has pointed out whence we obtain post Olympiada C
that these words correspond to qui ( = B.c. 380) as a further guide to the
primus lacunaria pinxit in the table artist's date.Append. V.
of contents, while the following nee iuventrioem the passage in xxi
;

camaras ante eum corresponds to shows that she was really thought of
quando primum camarae pictae {ib.). as the inventor of the art of plaiting
The statements accordingly are quite garlands ; thus the old conjecture
distinct. venditricem (Gesner) becomes im-
20. absolvit uno die : cf. the possible.
 152 C. PLINII SECUNDI NAT. HIST. XXXV
et ipsam sedentem cum corona, quae e nobilissimis tabula
est appellata stephaneplocos, ab aliis stephanopolis, quoniam
Glycera venditando coronas sustentaverat paupertatem.
huius tabulae exemplar, quod apographon vocant, L. Lucul-
126 lus duobus talentis emit Dionysiis Athenis. Pausias autem s

fecit et grandis tabulas, sicut spectatam in Pompei porticu

boum immolationem. earn primus invenit picturam, quam
postea imitati sunt multi, aequavit nemo, ante omnia, cum
longitudinem bovis ostendi vellet, adversum eum pinxit, non
127 traversum, et abunde intellegitur amplitudo. dein, cum lo

omnes quae volunt eminentia videri candicanti faciant co-

lore, quae condunt nigro, hie totum bovem atri coloris fecit

umbraeque corpus ex ipsa dedit magna prorsus arte in aequo

extantia ostendente et in confracto solida omnia. Sicyone
et hie vitam egit, diuque ilia fuit patria picturae. tabulas 15
A.u.c. 698. inde e publico omnis propter aes alienum civitatis addictas
128 Scauri aedilitas Romam transtulit. post eum eminuit longe
ante omnis Euphranor Isthmius olympiade CIIII, idem qui
inter fictores dictus est nobis, fecit et colossos et marmorea
et typos scalpsit, docilis ac laboriosus ante omnis et in quo- 20
cumque genere excellens ac sibi aequalis. hie primus vide-

4. apographou there were : at the duced by modelling, without the help

time many artists who were solely of any extraneous colour, precisely as
occupied in the business of copying the Kentaurs of the white marble
at Athens Lucian, Zeux. 3, sees a slab at Naples (Helbig, Wandgem.
copy of the Kentaurs of Zenxis cf.
' '
; 1 241 ) appear in strong relief through

also Dionysios inpX Atvipxov vii, the skilful though slight modelling,
p. 644 ;
Quinct. x, 2, 6 ; x, 2, 2 ;
Wickhoff, Wiener Genesis, p. 47.
above, § qi (Helbig, Untersuchungen, in aequo omnia ; in modern
p. 63). From the exorbitant price parlance Pausias excelled at giving
paid, however, it is possible that the the 'impression of artistic reality with
apographon was a replica by the only two dimensions' (cf. Berenson,
artist himself. The Florentine painters of the Renais-
5. Athenis: LucuUus visited m««, p. 4), i.e. at representing depth,
Athens in B.C. 88-87 as Sulla's the third 'dimension, on a flat surface.
Quaestor cf below, on § 156.
; 15. patria picturae : cf. xxxvi, 9.
§ 126. 7. boum immolationem propter ass alienum since
16. :

for the subject cf § 93 (note on pom- Sulla's Mithridatic war the Sikyonians
paii). had fallen into debt and distress
5 127. II. eminentia; §§ 92 {di- (see especially Cic. ad Ait. i, 19, 9;
giti eminere videntur) ; 1^1 ib. 20, 4; Ttisc. Disp. iii, 22,
13. umbrae corpus ex ipsa § 53) and were consequently forced
dedit : the effect was simply pro- to sell their art treasures.
 /. PAINTING J 153

with a wreath, one of the famous pictures of tjisr' world, called

the oTf^acijTrXoKos [wreath-binder], or by othe/s the o-Tf^ai/oTrMXif

[wreath-seller], because Glykera had support<ed herself by selling

wreaths. A copy of the picture, an anoypaipv.v as it is called, was
bought by Lucius Lucullus for two talents f -^420 circ.J at the
festival of Dionysos at Athens. Pausias, however, also painted 12a
large pictures, as for example the famous sacr'fice of oxen in the
Gallery of Pompeius. He devised an innpva\ion which has often ffe devises

been imitated but never equalled. The most, striking instance is '^application
that wishing to display an ox's length of body,«je painted a front of light
and not a side view of the animal, and yet contrived to show
its size. Again, while all others put in the high\ lights in white 127
and paint the less salient parts in dark colour, i^e painted the
whole ox black, and gave substance to the shadqw out of the
shadow itself, showing great art in giving all his figjUres full relief
upon the flat surface, and in indicating their form when fore-
shortened. He spent his life at Sikyon, for many years the home
of painting. Later on, in the aedileship of Scaurus, all the 56 b.c.

pictures of Sikyon were sold to liquidate the public debt, and

were brought to Rorne.
After Pausias in the hundred and fourth Olympiad [364-361 128
B. C.J, Euphranor of the Isthmos, whom I have already mentioned Ettpki-a-
nor.
among the statuaries, far excelled all rivals. He furthermore
'

produced colossal statues, works in marble and reliefs. Receptive

and of indefatigable industry, he attained in every branch a high
level, below which he never fell. He first, it is believed, gave to

17. Soauri aedilitas: viii, 64, and into the present anachronism,
often. 18. qvii inter flotores : xxxiv, 77,

I 128. post eum : of time et colossos ib. § 78, Euphranor's marble

(Furtwangler, Plinius, p. 15); but works are only mentioned here.
a date posterior to Pausias is irrecon- 20. typos in which he would be
:

cilable with Ol. 104 below and able to bring out his double skill as
xxxiv, 50. The mistake arises, as painter and artist ; the Greek relief,

Robert, Arch. Marchen, p. 89, points as we know from the Sidonian Sar-
it

out, from Pliny's confusion between kophagi, being in reality a sort of

the Elder Aristeides (§ 75) and raised picture (Wickhoff, Wiener
Aristeides of Thebes. In his original Genesis, p. 46 ff.; cf. Winter, Arch.
scl(eme he doubtless intended to keep Anzeiger, 1894, p. 8£f.); a. ypavTis
E. in his right chronology immediately twttos, Anth. Pal. vii, 730.

after Euxeinidas and his pupil Aris- in quooumque genere exoel-

teides; but as in that case the ac- lens; Quinct. xii, 10, 12 Euphra-
count of the supposed pupil would norem circa flurium artium species
have preceded that of the supposed praestantem.
master (§§ 98, III), Pliny was misled 21. Mo primus: introduces his
 154 C\PLINII SECUNDI NAT. HIST. XXXV
tur expressisSe-dignitatis heroum et usurpasse symmetrian,
sed fuit in universitate corporum exilior et capitibus articu-
129 lisque grandior. viblumina quoque composuit de symmetria
et coloribus. opej'a eius sunt equestre proelium, XII dei,

Theseus, in quo dixit eundem apud Parrhasium rosa pastum 5

esse, suum vero caU-ne. nobilis eius tabula Ephesi est, Ulixes
simulata insania qovem cum equo iungens et palliati cogi-
130 tantes, eodem tempore fuere Cydias
dux gladimi. L.jadens.
et cuius tabjilam Argonautas HS. CXXXXIIII Hor-
. . . ,

tensius orator -nercatus est eique aedem fecit in Tuscu- lo

lano suo, Eugfnranoris autem discipulus Antidotus. huius

est clipeo di/^icans Athenis et luctator tubicenque inter
pauca laudajus. ipse diligentior quam numerosior et in
coloribus severus maxime inclaruit discipulo Nicia Atheni-
131 ense qui diligentissime mulieres pinxit. lumen et umbras 15

custodiit atque ut eminerent e tabulis picturae maxime

8. cydi et cydias codd. ; Cydias Detlefsen.

special contribution to his art, cf. with Demokratia and Demos, Paus.
Introd. p. xxvii f. loc.cit. Both Theseus and Demos
I. dignitatis heroum : so Varro, were subjects that had been treated
Vita Pop. Rom., ap. Char. p. 126, by Parrhasios (above § 69). Demos
praises E. for his altitudo or loftiness. was also painted by Aristolaos, § 137.
symmetrian : note on xxxiv, 65. For the distribution of Euphranor's
i. Addenda.
exilior : see pictures in the Stoa Eleutherios see
capitibus articulisque the : Hitzig and Bliimn er, Pausanias, p. 1 4 1
judgement is identical with that passed in quo dixit eundem Plut. :

on Zeuxis in § 64, where see note. Glor. Athen. ii, p. 346 Ei(j>pavoip

§ 129. 3. volumina . . . com- rbv ©Tjaea rov kavTOv to) Uappafflov

posuit : lilce Apelles, § 79, Pam- 7rapej3aA.€ ^^eyajv, rbv pi.'kv hiaivov poha

philos (note on § 76),Melanthios, &c. peppojicivaij t6v 5e kavrov Kpia ^oeta.

Introd. p. xl f. Miinzer {oJ>. cit. p. 527) aptly compares
equestre proelium in the Stoa
4. : the Aristophanic verse (Fr. 180) upon
of Zeus Eleutherios at Athens, Paus. Euripides, recorded by Antigonos of
i, 3, 4 ; the picture represented the Karystos, ap. Diogenes iv, 3, 18 -napr)-

cavalry engagement which preceded TT] fjt^vos (sc. IIoAe/xaiy) a (prjaiv 'AptffTO-
the battle of Mantineia (b. c. 362, of. (pdvTjs trepl EvpLtriSov " d^ana koI tftX-
Plut. Glor. Ath. ii, p. 346) ; according 0ia)Ta," awepj ujs 6 avris (prjffi, " fcara-
to Paus. viii, 9, 8, a
copy of it was to •nvyoavvTj TavT^ effxi irpds Kpias fisya.^'
be seen in the gymnasion at Mantineia. Introd. p. Ixiii f.

XII dei in the same Stoa,:

7. simulata insania : ore avarpa-
Pafls. i, 3, 3; for the Zeus in this Tcvct Tots 'ArpeiSats fii^ QiXaiv, Lucian,
picture see Val. Max. viii, ext. 5 for ; vfpi oixov 30, where the whole picture is
the Hera, Luc. ^iKdvis 7. described in detail. The same subject
5. Theseus : likewise in the Stoa was painted by Parrhasios (Plut. aud.
Eleutherios ; the hero was represented poet. 3), we are not told for what city.
 /. PAINTING 155

heroes their full dignity, and mastered the theory of fymmetry

he made the body, however, too slim and the head and limbs too
large. He also wrote on symmetry and colour. His works are 129 :

a cavalry engagement, the Twelve Gods and a 1,'heseus, of which He com-

pares his
he said that the Theseus of Parrhasios had fed pn roses, but his Theseus '

on At Ephesos is his famous picture of Odysseus feigning to that of

flesh. '

Parrhasios.
madness and yoking an ox with a horse, \^th cloaked figures
in meditation, and their leader sheathing his sword. Kydias 130
and lived at the same time; his picture of the Argonauts was
. . .

purchased for 144,000 sesterces [;^i25o circ] by the Orator

Hortensius, who built a shrine for it on his estate at Tusculum.
iAnttdotos was a pupil of Euphranor. He painted a warrior Antidotos.

fighting with a shield, to be seen at Athens, a wrestler and

a trumpeter^ a picture praised as are but few. He was a laborious
rather than a prolific artist, and severe in his scheme of colouring ;

his chief claim to renown is that he was the master of Nikias of Nikias of
Athens.
Athens, who painted women with minute care. Nikias was pains-
131
taking in his treatment of light and. shade, and took special care

palliati oogitantes : these must 13. numerosior: see on xxxiv, 58.

be identical with the nfka^us in in coloribus severus for similar :

Lucian's description. judgements § 98 durior faulo in

;

8. gladium condens : UaKa/v/ibris coloribus; % 134 austerior colore

. . . TTponajTrov ex^'^ ^^ ^^^o^t i- e. the Athenian; § 137 e severissimis pic-
sword was half out of the sheath, and toribus (Aristolaus) ; ib. durus in
it was uncertain whether Palamedes coloribus (Nikophanes).
was drawing or replacing it. So too 14. disoipulo IVioia Euphranor :

in § 59, Pliny says of a picture by and Praxiteles being contemporaries

Polyguotos that it was uncertain (xxxiv, 50), a chronological difficulty
whether the man represented was arises from the statement that Nikias,
'
ascending ' or '
descending.' who assisted Praxiteles to paint his
§ fuere Cydias et
130. . . . : statues, was the pupil of a pupil of
the fuere combined with the evidence Euphranor. Pliny himself felt the
of the MSS. compels one to assume difficulty; in § 133 he hints at the
the loss of an artist's name. Whether solution in the words non satis discer-
Cydias should appear in the first place nitur . . . ; there were evidently two
or the second is uncertain. Over- artists named Nikias ; to the Elder,
beck's explanation Schriftquell. 1969° the assistant of Praxiteles (fl. ab. B. c.
(which I presume is also Detlefsen's), 370-330), and probably the painter of
that fuere refers to both Cydias and Alexander (r. B.C. 336-323), belongs
Antidotus, is quite unwarranted. the date Ol. cxii, while the Younger,
9. Hortensius orator : xxxiv, who was the pupil of Antidotos,
48. flourished about the time of Athenion
12. luotator tubioenque: votive (on whom see note).
pictures ; for the latter, probably of § 131. 15. lumen et umbras:
a winner in a. herald's competition, §§ 29, 127. Cf. Introd. p. xxxiv.
see note on xxxiv, 88. 16. ut eminerent : §§ 92, 127.
 156 C. PLINII SECUNDI NAT. HIST. XXXV
A.u.c. 679. curavit. opera eius : Nemea advecta ex Asia Romam a
Silano qu^m in curia diximus positam, item Liber pater in
A.u.c. 724. aede Concordiae, HyacinthuSj quern Caesar Augustus delec-
tatus eo secum deportavit Alexandrea capta et ob id —
Tiberius Caesar in templo eius dicavit hanc tabulam et 5

132 Danaen —
Eph 'si vero est megabyzi sacerdotis Ephesiae
,

Dianae sepulchrum, Athenis necyomantea Homeri. hanc

vendere Attalo regi noluit talentis LX, potiusque patriae
suae donavit abundans opibus. fecit et grandes picturas,
in quibus sunt Calypso et lo et Andromeda, Alexander 10

quoque in Pompei porticibus praecellens et Calypso sedens.

133 huic eidem adscribuntur quadripedes, prosperrime canes
expressit. hie est Nicias de quo dicebat Praxiteles inter-
rogatus quae maxime opera sua probaret in marmoribus
quibus Nicias manum admovisset, tantum circumlitioni eius 15

5. tabulam et Danaen] Bamb. ; tabulam — et Danae Detlefsen.

2. Silauo : ii, loo; governor of § 132. 6. megabyzi : note on

Bithynia, B. c. 76-75. The picture §93-
had possibly belonged to Pergamon. 7. sepulchrum : for another grave
diximus § 27, where see note.
: picture, by Nikias, at Triteia in

3. Hyaointhus : from Paus. iii, Achaia, see Paus. vii, 22, 6 ; cf the
19, 4, it appears he was represented expirantium imagines of Apelles, in
in the bloom of youth, in special § 90 ; the anapauomene of Aristeides,
allusion to Apollo's love for him. in § 99.
4. Alexandria capta on the : necyom. Homeri Odyssey xi. :

works of art brought by Augustus The picture, described Anth. Pal.

from Alexandria, and dedicated by ix, 792, was the artist's most cele-
him at Rome, see Wunderer's mono- brated work. While he was engaged
graph, Manibiae Alexandrinae,y^\ixz- upon it, according to an entertaining
burg, 1894. tale told by Plutarch, An sen. sit ger.

5. in templo eius : i. c. in the rep. v, 4, Nikias used to ask those of

temple built to the memory of his household whether he had washed
Augustus by Livia and Tiberius in or breakfasted.
14 A. D., Dio Cassius Ivi, 46 cf. ; 8. Attalo regi : familiarity with
Plin. xii, 94. To it belonged both the high prices paid by Attalos (vii,

a portions and a library (xxxiv, 43). 126; XXXV, 24) induced Pliny into
et Danaen: the Danae ig awk- error. The date of Attalos is irre-
wardly coordinated with the Hyacin- concilable with that of Nikias, so
thus. That it did not come from that Plutarch is probably right in
Egypt, as Urlichs {Chrest. p. 372) telling the story of Ptolemaios
supposes, is shown by the fact that (Soter, B. C. 306-284), UToXiimiou
Pliny would in that case have made Se Tov $affi\e(as e^T/KOVTa roKavra ttjs
the relative sentence refer to both ypa<pT]s ffvvTeKeaOeia'tjs irefjajjavTos ai/T^

pictures (Wunderer, op. cit. p. 9). fiij \aPeiv fiijS' diro56(T6at t6 epyov.
 /. PAINTING IS7

be relieved against the background.

that his figures should His His treat-
works are : Nemea brought to Rome from Asia by ^^I^f ^^^
the picture of
Silanus, and placed, as I have said, in the Council Chamber ; shade.
^'
a Dionysos in the temple of Concord ; the Hyakinthos carried ^^ ^'
away on the fall of Alexandria by Caesar Augustus, who took such 30 b. c.

great delight in the picture that as a consequence Tiberius Caesar

dedicated it in the temple of Augustus together with the Danae ;

at Ephesos a painting for the grave of a fieya^v^os or priest of 132

Artemis of Ephesos, and at Athens the veKvofiavreia [questioning
of the dead] of Homer. This picture the artist refused to sell to
King Attalos for sixty talents [;i^i 2,600 circ] but preferred, as he
was a rich man, to present it to his own country. He also painted
large pictures, amongst them Kalypso, lo, Andromeda, the excel- J
p
lent portrait of Alexander which is in the Gallery of Pompeius, and \ .
'J

a Kalypso seated. Pictures of animals are also ascribed to him, :b3

and he was very successful in painting dogs. It is of this Nikias He colours

that Praxiteles, when asked which of his marble statues pleased '^"plf^l'
him most, said, '
Those which the hand of Nikias has touched,' teles.

such was his tribute to this artist's colouring of the accessories.

It is not clear whether this or another Nikias is the one placed

Non posse suav. vivere sec. Ep. xi, 2. 11 . Pompei porticibus : note on
The court of Alexandria had been 5 59-
more fortunate in purchasing the § 133. 12. prosperrime canes:
Hyakinthos (§ 131). KHTai 8^ kvravOa . . , NiKias re o Nftfo-
patriae suae donavit : of. in liTiSovs (cf. Kohler, AiA. Mitth. 1885,
§ 62 the similar statement concerning p. 234, 2), f^a dpiffTOS ypalpaL tSjv i<^

Zeuxis. avTovj Pans, i, 29, 15. The descrip-

9. grandes picturas : in opposi- tion appears to be from the inscription
tion to the smaller pictures painted in on the grave.
encaustic. 15. ciTCumlitioni the process :

10. Calypso : a standing figure must be kept distinct from the ydvaats
from the fact that the second Kalypso or toning down of the whole statue
is expressly described as sedens. (Vitr. vii, g, 4) circuml. was ;

lo : Helbig {Untersuchungen, pp. admirably explained by Welcker (in

113, 140), inclines to see in the lo Miiller, Handhuch, p. 431), to consist

of the House of Livia on the Palatine, in a painting of hair and accessories,

a copy of the lo of Nikias, a composi- intended to give relief Ui the statue
tion which seems to have inspired to be in a word identical with circum-
Prop, i, 3, 20. litio as understood in painting, Qninct.
Andromeda : the composition viii, 5, 26 nee pictura, in qua nihil
seems preserved in the well-known circumlitum est eminet (cf. id. xii,

relief of the Capitol, Helbig, Class. 9, 8). Since then, the discovery of the
Ant.^di =Schieibei, Hell. Reliefs, xii; Sidonian sarkophagoi has revealed
of. Pompeian paintings, Helbig,
the precisely such a use of colour for hair,
Wandgemalde, 1186-1189. Add. dress, &c., as was divined by Welcker,
 158 C. PLINII SECUNDI NAT. HIST. XXXV
tribuebat. non satis discernitur alium eodem nomine an
134 hunc eundem quidam faciant olympiade CXII. Niciae
conparatur et aliquando praefertur Athenion Maronites
Glaucionis Corinthii discipulus, austerior colore et in auste-
ritate iucundior, ut in ipsa pictura eruditio eluceat. pinxit 6

in templo Eleusine Phylarchum et Athenis frequentiam

quam vocavere syngenicon, item Achillem virginis habitu
occultatum Ulixe deprendente, et in una tabula VI signa,
quaque maxime inclaruit agasonem cum equo. quod nisi
135 in iuventa obiisset, nemo compararetur. est nomen et lo
A.u.c. s86. Heraclidi Macedoni. initio naves pinxit, captoque Perseo
rege Athenas commigravit, ubi eodem tempore erat Metro-
dorus pictor idemque philosophus, in utraque scientia magnae
auctoritatis. itaque cum L. Paulus devicto Perseo petiisset
ab Atheniensibus uti sibi quam probatissimum philosophum 15

mitterent ad erudiendos liberos, item pictorem ad triumphum

excolendum, Athenienses Metrodorum elegerunt professi
eundem in utroque desiderio praestantissimum, quod ita

while flesh parts are seen to have been 26, 3) mentions a cavaliy captain
left in the tone of the marble cf. the ; Olympiodoros (presumably identical
Artemis of Vienna, _/o^?-/'. d. Oesterr. with the archon of 01. 121, 3 = B.C.
Kunstsamml.y, 1887, pi. i, ii, and 294) in the time of Kassander (d. Ol.
R. V. Schneider's remarks, ib. p. 22, on i2i=B. c. 296), who distinguished
the former colouring of the Hermes himself in an engagement at Eleusis
of Praxiteles. See also Wickhoff, in against the Makedonians, and was
Wiener Genesis, p. 48. accordingly honoured with a portrait
I. nou satis discernitur : above, there. He may quite well, therefore,
note on discipulo Nicia. be identical with the Olympiodoros
% 134. 4. austerior : i. e. Nicia, painted by Athenion, a contempo-
cui comfarabatur ; cf. above, note on rary of the younger Nikias. For
severus in § 1 30. lit. see Hitzig-Bliimner, Pausanias,
5. eruditio 76 omnibus
: cf § p. 283.
litteris eruditus of Pamphilos. 7- syngenicon : the Greek word
pinxit syngenicon the two
. . . : introduced because P. is not quite
pictures mentioned here belonging assured of his Latin equivalent ; for
to the class of votive offerings, and the the subject see note on cognatio, in
locality of each being specially noted, §76.
B. Keil {Hermes, xxx, 1895, p. 229 ; Achillem deprendente the
. . . :

cf. Miinzer, ib. p. 540) considers the subject had been treated by Poly-
wholte sentence to be an addition gnotos in the Pinakotheke of the
to the main account from the work Propylaia (Paus. and often.
i, 22, 6)
of Heliodoros trepl dvady/^Tojv, see We know it from a series of Pompeian
Introd. p. Ixxiv f. wall paintings, Helbig, Wandgemalde,
6. Phylarchum: Pansanias (i, 1296-J303 (the most famous, 1297, is
 /. PAINTING 159

by some authorities in the hundred and twelfth Olympiad

[332-329 B. C.J. ^Athenion of Maroneia, the pupil of Glaukion of 134
Corinth, is compared with Nikias, and preferred to him by some. j,utii^oP'
He used a severer scheme of colouring than Nikias, and pro- Glaukion.

duced a more pleasing effect withal, thus manifesting in his

execution his grasp of the abstract principles of his art. He
painted in the temple of Eleusis a captain of cavalry ; at Athens
an assembly called a avyyiviKov ; also Achilles, in the guise of
a maiden, at the moment of detection by Odysseus ; a picture
containing six figures, and the groom with a horse on which his
fame chiefly rests. Had he not died young, no artist would be
comparable to him.
•\Herakleides of Makedon, who began life as a ship painter, also 135
enjoys a great reputation. After King Perseus was taken prisoner, ^^^^^^^
he repaired to Athens, where was then living Metrodoros, who was 168 b.c.
Metro-
^^*'''''
at once painter and philosopher, and had won high distinction
doros.
in either capacity. when Lucius Paulus after his
Accordingly,
victories over Perseus asked the Athenians to send him their best
philosopher to teach his children, and a painter to commemorate
his triumph, they chose Metrodoros, declaring that he could best
fulfil both requirements, as indeed Paulus found to be the case.

given in Rosclier, i, p. 27), none of forming the basis of the Plinian ac-
which however can be traced baclc count, Introd. p. Ixxx f.

with any certainty to Athenion cf. ; 12. Metrodorus : he is most

Helbig, Untersuch.-f.\Cf%. Addenda. liltely identical with the Metrodoros
§ 135. II. Heraolidi: below, in the Index to this book. Further he
§ 146. is possibly the same as the Metrodoros
captoque Perseo rege Ol. 153, : of Stratonikaia, mentioned by Diogenes
I, Robert, Arch. March, p. 135, note, Laertios x, 9, and Cic. De Oraf. i, 1 1,

points out that the last date for a 45, as being a pupil of Karneades (cf.

painter having been Ol. 121 (§ 134), Brann, K. G. il, p. 293; Urlichs,
there was precisely the same gap in the Maler'ei, p. 16; Helbig, Untersuch.
chronology of the painters as in that p. 5).
of the bronze sculptors (xxxiv, 52 16. ad erudiendos liberos the :

cessavit deindears (p\.\2i) ac rursus two yoimger sons who died at the
01. 116 revixii). It is evident that time of the triumph cf. the charming
;

the Greek sources ended for painting passage in Plutarch, Aem. Paul, vi
as for sculpture with approximately Oi -^bf fidvov ypa^iiMTiKol aal ffotpiaral
the same period, and that the ad- teat gropes, ciWd Kal irXdcTai. Kal
ditions concerning Herakleides and J^taypaclioi Kal irdiKaiv Kal ffKvk^Koiv
Metrodoros, both of whom are con- (maTdTatKoiSiSiaKaXoiS'ljpas'EWrivfs
nected with Roman exploits, like the ijaav ircpl Tois viaviaKovs (i. e. the
additions made in xxxiv, 52 to the elder sons, the younger Scipio and
Greek lists of the sculptors, are ex- Fabius Maximus, after their father's
traneous to the original history of art triumph over the Ligurians, B.C. 181).
 l6o C. PLINII SECUNDI NAT. HIST. XXXV
136 Paulus quoque iudicavit. Timomachus Byzantius Caesaris
dictatoris aetata Aiacem et Mediam pinxit ab eo in Veneris
Genetricis aede positas, LXXX talentis venundatas. talen-
tum Atticum X VI taxat M. Varro. Timomachi aeque
laudantur Orestes, Iphigenia in Tauris et Lecythion agili- 5

tatis exercitator, cognatio nobilium, palliati quos dicturos

pinxit, alterum stantem, alterum sedentem. praecipue
137 tamen ars ei favisse in Goi-gone visa est. Pausiae filius et

discipulus Aristolaus e severissimis pictoribus fuit, cuius

sunt Epaminondas, Pericles, Media, Virtus, Theseus, imago 10

Atticae plebis, bourn immolatio. sunt quibus et Nico-

phanes eiusdem Pausiae discipulus placeat diligentia quam

§ 136. I. Timomaohus Byz. had been some time in existence

Caesaris from what we
. . . aetate : thus the latest date which could well
know of the famous Aias and Medeia be assigned to the pictures would be
(see following note), Plinyseems guilty about 100-90 B. c, but this cannot be

of an anachronism in placing Timo- called the '

age of Caesar.' Indeed
machos in this period (so Brunn, since all the artists (i. e. Pythagoras,
Dilthey, Helbig, Urlichs and Furt- Myron, the two Praxiteles, Protogenes
wangler see Brandstatter, Der Maler
; and Apelles) mentioned by Cicero are
Timomachos, where all the evidence of the fifth and fourth centuries, it
concerning the artist's date is col- seems reasonable to suppose that
lected) ; he presumably found no date Timomachos also lived not later than
in his author, and tried to obtain the fourth century. From the subjects
one out of the purchase by Caesar of his pictures he was probably a con-
(Furtwangler, Plinius, p. 14), {Cae- temporary of Apelles (Brandstatter,
saris dictatoris aetate in imitation of op. cit."). The two pictures were com-
Magni Pompei aetate xx, 144 ; xxii, posed as pendants, at least so we
128; xxvi, 12; xxxiii, 130, 156. gather from the juxtaposition of the
H. L. U.] subjects in Ovid, Trist. ii, 525 :

2. Veneris G-. aede : above, § 26 Utque sedet vultufassus Telamonius

where see note. iram^
Aiacem et Mediam: apparently Inque oculis /acinus barbara mater
identical with the Aias and Medeia habet.
mentioned by Cicero, Verr. II, The composition has survived on a
iv, 60, 135, where
he enumerates number of gems (Berlin, Cat. 673,
thirteen works of art, each of which 674. 1357. 4319, 4327. 6491; Br.
was the pride of the city that owned Mus. Cat. 1426, 1427). Copies of
it : quid arbitramini merere velle the Medeia have survived in two wall-
Cycicenos, ut Aiacem aut Mediam paintings (i) from Pompei, Helbig,
amittant? Now the Verrine orations Wandgemdlde, 1262, (2) from Hercu-
date from 70, and since the
B. c. laneum, Helbig, 1264 (single figure
pictures had then attained a world- of Medeia, but taken apparently
wide celebrity, similar to that enjoyed from a large composition similar
by the Eros of Praxiteles, the heifer to the former) : Medeia meditating
of Myron, &c., we must suppose they the murder, while the children
 /. PAINTING i6i

Timomachos of Byzantion in the time of the dictator Caesar 136

painted the Aias and the Medeia, placed by Caesar in the temple
f^^"""''
of Venus the Mother, which cost eighty talents [_;^i6,8oo circ.J.
(Marcus Varro values the Attic talent at 6000 denarii.) Other
pictures by Timomachos meet with a like praise ; his Orestes and )

Iphigeneia among the Tauroi ; his portrait of Lekythion, a master jl

of gymnastics ; an assembly of notable persons, and two men in j

cloaks just read^Jo speak, one standing, the other sitting. Art, \
however, is thought to have granted to him his greatest success in
the Gorgon which he painted.
iAristolaos, the son and pupil of Pausias, was an artist of the 137
severest school ; he painted pictures of Epameinondas, Perikles, son^and"^'
Medeia, Valour, Theseus, a personification of the populace oi pupil of
Faustas.
Athens, and a sacrifice of oxen.
\Nikophanes, another pupil of Pausias, is admired by a small Niko-
phanes.
quietly play in charge of the sarkophagos, Robert, Sarkoph. Reliefs
paidagogos —a scheme which corre- . Ivii. Addenda.
sponds to Lucian's description Tttpi agilitatis exeroitator: he would
oiKov, 31. The was very
picture be a less exalted personage than an
probably inspired by the Medeia of tTnarwrr]^ a9\.T)TSiv (xxxiv, 82), but
Euripides. From § 145 we learn that more on a level with the praestigiator
it was left unfinished. The Medeia Theodores, and the sallator Alki-
gave occasion for a number of sthenes in § 147. The picture was
epigrams (see Overbeck's Sckrift- presumably a votive portrait.
quellen 2136-2139). Anth. Plan. 6. oognatio nobilium : above,
iv, 137, shows that it was painted in note on § 76.
encaustic tv K-qpa. (Against the palliati i. c. wrapped in the
:

view advanced here that Timomachos pallium ^llifvnov, whence they were
is a painter of the fourth century, see presumably portraits cf. on the duo ;

Robert, in Arch. Mdrchen, p. 132, palliata in xxxiv, 54.

who defends Pliny's Caesaris aetate, quos dicturos : [cf. the Elder
and lately Wickhoff, in Wiener Philostratos eltcdves ii, 31 opa Kal
Genesis, p. 72). Addenda. rdv ®€fit(TTotc\4a T^v pXv rov npoawTTov
5. Orestes, Iphigenia in Tauris: oraatv irapairA.'iio'tov Tois Xiyovtriv.
one picture, the two parts of which — H. L. U.] ; also Sittl, Gebdrde,
are given asyndetically, see J. MiiUer, p. 7, note 5.
Stil, p. 39 i. For the subject cf the 8. in Gorgone: i.e. a Gorgoneion
Pompeian wall-painting, A. Z, 1875, or mask of Medusa; we may compare
pi. xiii on the right, above, Iphigenia
: in sculpture the 'Medusa Rondanini'
with her maidens emerging from the (Munich, Glypt. 128).
temple, on the left, below, Orestes §137. Pausiae: above, § 123.
and Pylades brought prisoners to the The account of Aristolaus has been
temple ; as Robert points out {ib. torn asunder from its original context.

P- 133 f-); there are no grounds for 9. e severissimis : note on § 130.

identifying the Pompeian picture as 1 1, bourn immolatio : note on
a copy of the original by Timomachos. § 93 ; cf. § 177.
See also the composition on the ITioophanea : above, § ill.
M
 1 63 C. PLINII SECUNDI NAT. HIST. XXXV
intellegant soli artifices, alias durus in coloribus et sile

multus ; nam Socrates iure omnibus placet ; tales sunt

eius cum Aesculapio filiae Hygia, Aegle, Panacea, laso et
piger qui appellatur Ocnos, spartum torquens quod asellus
138 adrodit. hactenus indicatis proceribus in utroque genere s

non silebuntur proximi Aristoclides qui pinxit

et primis :

aedem Apollinis Delphis. Antiphilus puero ignem conflante

laudatur ac pulchra alias domo splendescente ipsiusque pueri
ore, item lanificio in quo properant omnium mulierum
pensa, Ptolemaeo venante, sed nobilissimo Satyro cum pelle lo
pantherina, quern Aristophon aposcopeuonta appellant.
Ancaeo vulnerato ab apro cum socia doloris Astypale
numerosaque tabula in qua sunt Priamus, Helena, Credulitas,
139 Ulixes, Deiphobus, Dolus. Androbius pinxit Scyllum
ancoras praecidentem Persicae classis, Artemon Danaen 15

12. Ancaium (Angaium e corr.) vineratnrao Bamb. ; Ancaeum vulneratum

Detlefsen. Astypalaea coni. Brunn K. G. ii, p. 53, Detlefsen.

1. soli artifices ; MUnzer, op, cit. (Paus. X, 29, 2), cf. the pulealia the
p. 519, points out that this reference Vatican (Helbig, 373).
to the opinion of artists recalls the § 138. 5. utroque genere : i. c.

passage on Telephanes, xxxiv, 68. both large and small pictures.

durus in coloribus § 1 30 in: 7. aedem Ap. Delphis ; nothing
coloribus severus, where see note. further is known of these paintings.
2. nam : [elliptical, i. e. the case Antiphilus above, §§ : 89, 114.
of the painter Sokrates is different, puero ign. confl, : for the same sub-
for he pleases everybody {omnibus), ject in statuary cf. the splanchnoptes
whereas Nikophanes is only for the of Styppax, xxxiv, 81.
few {sunt quibus) ; cf. the use of 8. domo splendescente; for effects
nam in xxxiv, 7; x, 210; xvii, 58, of reflected light cf. above, note on

151.— H. L. U.] 5 78, and Wickhoff, Wiener Genesis,

Sokrates : he appears in such P- 79-
close connexion with Aristolaos and 9. lanificio : cf. the subjects of
Nikophanes, that he is presumably also Peiraikos in § 112, of Philiskos in
a pupil of Pausias. In xxxvi, 32, Pliny § 143-
mentions a sculptor Sokrates, whom 10. Ptolemaeo : above, § 89.
he from the painter,
distinguishes 11. aposcopeuonta: i.e. raising
though according to some authorities his hand to shade his eyes in the
they were identical. Introd. p. 1. f. satyric dance called OKuinivfia (Athen.
3. Aesculapio i. e. a votive : xiv, p. 629 f.). Variations of the
picture for a reco^ery ; for the subject motive have been recovered in a num-
c£ the reliefs, Friederichs-Wolters, ber of statues and statuettes, which
1 148, 11 50. can be traced back to one original
all

4. Ocnos ; for the subject,which type of which the finest instance is a

had already been represented
by bronze at Berlin ; Furtwangler, Sa/yr
Polygnotos in the Delphian Lesche aus Pergamon, p. 14 fF.
 /. PAINTING 163

circle for an industry which painters alone can really appreciate ;

apart from this merit he was too harsh in colouring, and too lavish
in his use of yellow ochre. The merit of \Sokrates on the other Sokrates.

hand is, as it should be, patent to everybody, thanks to his

pictures of Asklepios with his daughters Hygieia, Aigle, Panakeia
and laso, and of a sluggard, called "Okvos [sloth], twisting a rope
which an ass is gnawing.
So far I have spoken only of the leading artists in both styles, 133
but I do not purpose to omit those of the second rank. Painters of

•\Aristokleides painted the temple of Apollo at Delphoi. Anti- arranged

philos is praised for his picture of a boy blowing a fire, and for the '^Ip^abeti-
reflection cast by the fire on the room, which is in itself beautiful, Arista-
and on the boy's face : for his picture of wool-weaving, where all ^^"<^f^-
. .
Antiphilos,
the women busily ply their tasks ; for his Ptolemaios hunting, and,
most famous of all, for his Satyr with a panther's skin, called the
a7ro<rico7reuwr, or Gazer.
Aristophon is celebrated for his Ankaios wounded by the boar, Aristo-
grouped with Astypale, the partner of and a crowded /'^''»- his woe,
picture containing Priam, Helen, Credulity, Odysseus, Deiphobos
and Guile. \Androbios painted Skyllos cutting the cables of the 139
Persian fleet ; \Artemon a Danae and the pirates marvelling at her

Aristophon : brother of Poly- figures, from Quinct. v, 10, 10 vulgo-

gnotos, above, note on § 60. que numero-
{inter opifices) faullo
12. Anoaeo: not the Arkadian sius opus diciiurargumentosum.
Ankaios, but the Argonaut with his Priamus Dolus from the
. . :

mother Astypale. Kenndorf, Gjolbas- presence of Helen and of Deiphobos

chi, p. 114 f., inclines to believe the it appears that the pictnre represented
wounded hero was supported by his a scene from the siege of Troy subse-
mother, a Polygnotan scheme, echoes quent to the death of Paris ; on the
of which seem to have survived on both whole composition cf. ]a.ha,^.Z. 1847,
the Phigaleian and Gjblbaschi friezes. p. 127. For the personifications of
The hero being a Samian, the picture Dolus and Credulilas cf. the Sio^oAij in
was probably at Samos. Apelles' picture (above, note on § 891.
Astypale; [shortened for Asty- §139. 14. Soyllum he dived and :

palaia, so Zeuxis commonly for Zeux- cut the cables of the Persian fleet,

ippos; cf. A. Fick, Die Griechischen Paus. x, 19, i ; Herod, viii, 8.

cf.

Personennamen^ 2nd. ed., p. 35. In 15. D. mirantibus earn prae-

Hyginus, Fab. 167 (ed. Bimte, 122, donibus: according to the legend, it
I, 6), Astyphile is unnecessarily was Dictys, a fisherman, who rescued
restored by Bunte to Astyphalaea. Danae. There may have been a
H.L. U.] The reading Astypale is variant tradition or the ^toiS</(?««j may
also kept by Benndorf (pp. cit.). come from misinterpretation of the
13. ntunerosa : Bruim, K. C. ii, picture. Helbig, Unlersuchungen,
p. 53, explains this adjective applied p. 145, brings Wandgemdlde 119 into
to a picture which contained only six connexion with the '
Danae.'
M 3
 164 C. PLINII SECUNDI NAT. HIST. XXXV
mirantibus earn praedonibus, reginam Stratonicen, Herculem
et Deianiram, nobilissimas autem, quae sunt in Octaviae
operibus, Herculem ab Oeta monte Doridos exusta mortali-
tate consensu deorum in caelum euntem, Laomedontis circa
Herculem et Neptunum historiam. Alcimachus Dioxip- 5

pum, qui pancratio Olympiae citra pulveris iactum, quod

140 vocant clkoviti, vicit, Coenus stemmata. Ctesilochus Apellis
discipulus petulanti pictura innotuit, love Liberum parturi-
ente depicto mitrato et muliebriter ingemescente inter
opstetricia dearum, Cleon Cadmo, Ctesidemus Oechaliae 10

expugnatione, Laodamia, Ctesicles reginae Stratonices

iniuria. nullo enim honore exceptus ab ea pinxit volutan-
tem cum piscatore quem reginam amare sermo erat, eamque
tabulam in portu Ephesi proposuit ipse velis raptus. regina
tolli vetuit utriusque similitudine mire expressa. Cratinus 15
141 comoedos Athenis in Pompeio pinxit, Eutychides bigam,
regit Victoria. Eudorus scaena spectatur idem et ex —
I . reginam Stratonicen : there pleasure of Alexander, and being
were several queens of this name ;
slandered to the king he finally took
the most celebrated, who may be the his own life. Diod. xvii, loo-ioi ;

one intended here, was daughter of Ailian, Hoik. 'lar. n, 22 (see G. H.

Demetrios Poliorketes (Plut. Dem. Forster, Sieger in den Olympischen
married first to Seleukos Nikator,
liii), Spielen, i, p. 27, 381), 01. 113, 3 =
then to his son Antiochos (Val. Max. 326 B.C.
V, 7, £xt. l) ; Introd. p. Ix. 6. Olympiae : instead of the usual
Herculem et Deianiram ; this construction, Olympia mncere, imi-
and the following picture seem part tated from the Greek.
of a cycle representing the Labours of 7. aKoviTi = X'^P^^ Koveois : usually
Herakles. Addenda. because the appointed antagonist
3. Herculem ... in caelum failed to appear; according to Pans,
euntem for the Apotheosis of
: vi, II, 4, Dromeus of Mantineia was
Herakles in later art see Furtwangler, the first to gain a victory d/covtri; cf.
aj>. Roscher, i, 2250. id. vi, 7, 4 ; /. G. B. 29. See for
5. historiam : probably in a series all possible conditions of such a
of pictures. One scene, the freeing of victory K. E. Heinrichs, Ueber das
Hesione by Herakles, was also the Pentathlon der Griechen (Wiirzburg,
subjectof a picture by Antiphilos 1892), p. 74. For the expression
(above, § 114). situ pulvere, which was proverbial,
Dioxippum ; he was in the army Otto, Sprickworter, p. 290.
of Alexander the Great, and in B.C. stemmata: portraits fitted into
326, during the Median campaign, some kind of genealogical tree (xxxv,
he overcame in an athletic contest § 6} ; cf. note on cognatio, in § 76.
the Makedonian Koragos who had § 140. Ctesilochus if iden- :

challenged him. By this feat, how- tical, as generally supposed with

is
ever, he drew upon himse f the dis- the KTr/aioxos of Sonidas (s. v.
 /. PAINTING 165

a portrait of queen Stratonike ; a Heraldes and Deianeira, and

the celebrated pictures in the galleries of Octaviathe one repre- :

sents Herakles on Mount Oite in Doris, putting off his mortality

in the flames, and going up to heaven by consent of all the gods Alkima-
the other shows the story of Laomedon, Herakles and Poseidon. chos paints
a portrait
\Alkimachos painted a picture of Dioxippos, who won in the pan- of the Fan-
kratiast
kration at Olympia a victory without dust, okowti, as it is called.
Dioxippos.
•\Koinos painted family trees. Ktesilochos, a pupil of Apelles, 140
Ktesilo-
became famous by a burlesque painting of Zeus giving birth to
chos paints
Dionysos the god wears a head-dress and, moaning like a woman, a grotesque
;

is receiving the good offices of the goddesses. ^Kleon owes picture of

the birth oj
his reputation to a picture of Kadmos, ^Ktesidemos to a siege of Dionysos.
Oichalia and a Laodameia, while ^Ktesikks is best known by the Ktesikles
affront he offered to queen Stratonike, who had received him his venge-
ance tipon
without any mark of honour. He in consequence painted her Queen
lying in the arms of a fisherman, her reputed lover, and had the Stratonike.
picture exhibited in the port of Ephesos, after he himself had sped
away with all sails set. The queen, however, would not allow the
picture to be removed, as both portraits were excellent likenesses.
•\Kratinos painted comic actors in the Pompeion at Athens,
Eutychides, a two-horsed chariot driven by Nike. \Eudoros, who 141

Apelles), he was the brother of Stratonices iuiuria : cf. on §

Apelles. 139-
petulanti piotura the picture
8. : 15. Cratiuus eomoedus I see ;

was probably intended as a parody. no need for doubting his identity with
Heydemann, Hall. Winckelmannspr. the writer of comedies middle of (fl.

X (1885), p. 6ff. fifth cent.). meation of

This first

love . . . mitrato : an absurdity Kratinos was detached from its con-

because, among Greeks at any rate, text with Eirene, daughter of Kra-
the yxTpa was only a feminine adorn- tinos (§ 147), in order to be intro-
ment ; above, § 58 capita earum duced into the alphabetical list (see
(sc. mulierum') mitris versicoloribus Miinzer, op. cit. p. 535 ; Introd. p.
operuit ; but vi, -idi Arabes mitrati. Ixv.).

9. inter opstet. dearum : i. e. the 16. in Pompeio : at the entrance

Eileithyiai. to the Kerameikos, Pans, i, ^,4.
10. Ctesidemus : the master of § 141. Butyohidea : in xxxiv, 78,
Antiphilos, above, § 114. he is mentioned as a sculptor in
Oeolialiae expugn. : by Herakles, bronze.
Strabo, ix, p. 438. bigam, regit Victoria for the ;

11. Laodamia : the subject is of subject cf. Helbig, Wandgemdlde,

frequent occurrence (gem Br. Mus. 938. 939-
Cat. p. 67, no. 327 ; numerous sarko- 1 7. scaena : i. e. a scenic decoration
phagi, cp. especially Baumeister, intended to be fastened to the scaenae
Denkm., p. 1422, fig. 1574), but there frons ; cf. § 23.
is no ascertained copy of Ktesidemos's et ex aere signa fecit : he is how-
picture. ever not mentioned in xxxiv.
 i66 C. PLINII SECUNDI NAT. HIST. XXXV
acre signa fecit Hippys Neptuno et Victoria. Habron—
amicam et Concordiam pinxit et deorum simulacra, Leon-
tiscus Aratum victorem cum tropaeo, psaltriam, Leon
Sappho, Nearchus Venerem inter Gratias et Cupidines,
142 Herculem tristem insaniae poenitentia, Nealces Venerem — 5

ingeniosus et sellers iste, siquidem, cum proeliuin navale

Persarum et Aegyptiorum pinxisset, quod in Nilo, cuius est
aqua maris similis, factum volebat intellegi, argumento
declaravit quod arte non poterat asellum enim bibentem ;

143 in litore pinxit et crocodilum insidiantem ei Oenias — 10

syngenicon, Philiscus officinam pictoris ignem conflante

puero, Phalerion Scyllam, Simonides Agatharchum et
Mnemosynen, Simus iuvenem requiescentem, officinam
fullonis quinquatrus celebrantem, idemque Nemesim egreg-
144 iam, Theorus se inunguentem, idem ab Oreste matrem 15

15. se inunguentem] Sillig; emungentem Bamb.; et inungentem Rice;

erumpentem Detlefsen (coni. Benndorf).

1. Hippys : the name has been thought he could trace back to the
conjecturally restored from Polemon, picture of Nearchos, has been shown
ap. Athen. xi, p. 474 d ; cf. above, by Furtwangler (a/. Roscher, i, 2175)
note on anus in § 78. to be merely an adaptation by an
2. amicam : simply the portrait artist of the Renascence of a type
of a hetaira (cf. Furtwangler, created for Aias (above, note on § 1 36).
Dornauszieher, p. 94, n. 53). Some Ifealoes; MUnzer, op. cit. p. 532,
commentators, however, assume a note 2, rightly disputes his identity
misunderstanding on Pliny's part of with the painter Nealkes, the friend
the Greek i^iA.ia, and suggest the of Aratos (Plut. loc. cit. xiii), since
reading Amicitiam, by analogy with in that case Pasias, the pupil of Neal-
Concordia = dfwvoia. kes's own pupil Erigonos (§ 145),
3 Aratum . . . tropaeo : accord- would belong to the late second
ing to Hardouin {ad loc), to com- century, outside the lower limit of the
memorate the victory over Aristippos, liststo this consideration may be
;

Plut. Aratus, xxix ; the identification added that the story recounted of
with the Sikyonian Aratos (frees Erigonos {loc. cit.) is closely connected
Sikyon B.C. 251), however, seems with a number of other stories, which
doubtful, since none of the known cannot have arisen later than the
painters in the list belong to so late a commencement of the third century.
period ; below, note on Nealces ; cf. Miinzer's discovery, however, with
Brunn, K. G. ii, p. 292. regard to the picture by Nealkes
psaltriam : cf. xxxiv, 63 and note. (note OD proelium) at once settles the
J 142. 5. Herculem tristem : i.e. question in favour of an earlier painter
after the murder of his children ; cf. of the name.
in sculpture the kindred subject of 6. ingeniosus : cf. the praise
Athamas, xxxiv, 140. A gem, which bestowed upon Timanthes in § 73.
Stephani {Ausruh. Her. p. 145) proelium asellum. Miinzer
. . .
 I. PAINTING 167

also made statues in bronze, is known by a scene painted for

a theatre, Hippys by a Poseidon and a Nike, -Mlabron by a
portrait of his mistress, a picture of Concord and figures of the
Gods. iZeontiskos painted Aratos as victor with a trophy, and
a woman playing on the cithara, \Leon a Sappho, \Nearchos an
Aphrodite attended by the Graces and Loves, and a Herakles in
grief repenting of his madness, ^Nealkes, an Aphrodite. This 142
Nealkes.
Nealkes was a man he had painted a naval
of ingenious devices ;

battle between the Egyptians and Persians, and wishing to show

that it was fought on the Nile (the waters of which are like those
of the sea) he indicated by a symbol that which art alone could
not express, painting an ass drinking on the river's brim and
a crocodile lying in wait for it. -^Oinias painted a family gather- 143
ing; iPhiliskos an artist's studio with a boy blowing the iire;
^Phakrion a Sky 11a ; iSimonides an Agatharchos and Mnemo-
syne; Simos a youth workshop of a fuller who is
resting, the

keeping the festival of Minerva, and a Nemesis of great beauty, '^^^^^j

\Theoros painted an athlete anointing himself, an Orestes slaying his picture

(Joe. cit.^ has had the signal merit painter in encaustic ; cf the picture by
of fixing the occasion for the picture Antiphilos, in § 138- Introd. p. Ixxi.
and thereby the date of the artist. 12. Soyllam: uncertain whether
It must have referred to one of the the sea monster or the daughter of
battles by which Artaxerxes III Nisos ; cf. Brunn, A'. G. 300 ; a Scylla
Ochos, 358-337), successively
(b. c. by Nikomachos in § 109.

reduced Egypt in B. c. 350. ' Popular 13. Mnemosynen : cf the relief of

conceptions of wicked enemy, of
tlie Archelaos of Priene in Br. Mus.
the ass-shaped Seth Typhon, had won Simus : possibly identical with
for the hated king the nickname of the sculptorSimos of Salamis (in
the " Ass" amongthe Egyptians, while Kypros), known from two inscriptions
,
among the Greeks who fought in (/. G. B. 163, 164), which from the

thousands on either side, the pun character of the epigraphy may be

Sixos —
oi/os had quickly spread (cf. dated about the third century B. c,
Deinon, ap. Plut. de Iside, 31 Sid koX Brunn, K. G. i, p. 467 ; H. v. Gaer-
Toiv TiipaiKoiv $aai\iaiv IxBpaivovTfs Xraigea,Jahrb. ix, 1894, p. 39.
liAKiara riv 'nx"" ^^ ivayfi xal iuvenem requiesoentem : [per-

/itapov, ovov knaivdfjiaffav : Ailian, Uotu. haps a grave picture, in which the dead
'IffT. iv, 8). The allusion which Neal- youth was represented lying down, i. e.
kes introduced into his picture was an avaTTav6fj.tvos (§ 99 and note), an
clear to his contemporaries and to the expirantis imago (§ 90). H. L. U.] —
point ; meaning was forgotten,
later its 14. quinquatrus the feast, which ;

and people had recourse to the silly was of two kinds, the Greater and the
explanation recorded by Pliny.' Lesser, was kept by all those whose
§143. II. syngenicon : above, trades were under the special protec-

§ 136; cf. note on § 76. tion of Minerva. Addenda.

ignem oonflante puero. The § 144. 15. Theorus : the name
studio must have been that of a belongs to the class of those given,
 i68 C. PLINII SECUNDI NAT. HIST. XXXV
et Aegisthum interfici, bellumque Iliacum pluribus tabulis,
quod est Romae in Philippi porticibus, et Cassandram, quae
est in Concordiae delubro, Leontium Epicuri cogitantem,
Demetrium regem, Theon Orestis insaniam, Thamyram
citharoedum, Tauriscus discobolum, Clytaemestram, Pani- 5

145 scon, Polynicen regnum repetentem et Capanea. non omit-

tetur inter hos insigne exemplum. namque Erigonus tritor
colorum Nealcae pictoris intantum ipse profecit ut celebrem
etiam discipulum reliquerit Pasian, fratrem Aeginetae
pictoris. illud vero perquam rarum ac memoria dignum 10

est suprema opera artificum inperfectasque tabulas, sicut

Irim Aristidis, Tyndaridas Nicomachi, Mediam Timomachi
et quam diximus Venerem Apellis, in maiore admiratione
esse quam perfecta, quippe in is liniamenta reliqua ipsaeque
cogitationes artificum spectantur, atque in lenocinio com- 15
mendationis dolor est manus, cum id ageret, exstinctae.
146 sunt etiamnum non ignobiles quidem, in transcursu tamen
according to Fick ( Gr.Personcnnamen, 1. beUumciue Iliacum pluribus
p. 360), in allusion to the bearer's tabulis : probably one of the oldest
profession (see, however, H.L.Urlichs' instances of a serial representation of
note on Euchira, in § 152). That scenes from the Trojan war, such as
there is not the slightest evidence for became so fashionable in imperial
following Brunn {K. G. ii, p. 255), in days (cf. the Troiae halosis, Petron.
charging Pliny with the fabrication of 87, also the pictures of the Fall of
Theorus out of a misunderstanding Troy, seen by Aineias in the Palace
of Theon, has been shown by Urlichs ofDido,Virg.j4««. 1,456-493). From
in Hdlz. Pferd, p. 18, u.. 17. Pompeii we have a series of pictures,
se inungeutem votive : portrait which, even if not close imitations of
of an athlete, represented in the the pictures by Theoros (see Helbig,
act of anointing himself, a subject Uniersuch. p. 142), serve to illustrate
familiar in statuary, Furtwangler, how these cycles were conceived ; see
Masterpieces, p. 257 ff. ; against the Briining,Jahrb. ix, 1894, p. 164
Benndorf Detlefsen reading erumpen- {Ueber die I'ildlichen Vorlagen der
tem see H. L. Urlichs, in Woch. f. Ilischen Tafelii^.
Klass. Phil. 1895, P- 548- 2. Philippi porticibus : note on
ab Oreste matrem et Aegis- §66.
thum interfici ; cf the construction Cassandram : it may have been
in xxxiv, 59 {fecit) Apollinem ser- part of the Trojan series (above), and
pentemque eius sagittis configi. For have become separated from it ; more
the subject cf. the Pompeian picture, probably it was a picture by itself.
A. ^. xli, 1883, pi. ix, I (Robert, ib. 3. Leontium : note on § 99.
p. 259), and the Sarkophagos in St 4. Dennetrium : i. e. Poliorketes
Petersburg, Robert, Sark. Pel. pi. liv, cf. note on xxxiv, 42.
p. i6j f. Wickhoff, Wiener Genesis, Theon : of Samos ; mentioned by
p. 85. Quinct. xii, 10, 6, among the seven
 /. PAINTING 169

his mother and Aigisthos, a cycle of pictures of the Trojan war, of 'Orestes
now in Rome in the Gallery of Philip, a Kassandra, now in the Mother.'
temple of Concord, Leontion, the pupil of Epikouros, in medita-
tion, and king Demetrios. Theon painted the madness of Orestes, Theon: his

and a Thamyras, a player on the cithara ; Tauriskos -J^^^ "^ad-

portrait of
painted the portrait of a quoit - thrower, a Klytaimnestra, a ness of
''"' "'
Tiafia-Kos or young Pan, a Polyneikes claiming the throne, and

a Kapaneus.
Nor must I forget to mention here the noteworthy case of 145
^Erigonos,who ground the colours of Nealkes, and eventually jj^^°ll°^'
became so good a painter that he could even train a great artist mfrom ob-
'"
his pupil ^Fasias, the brother of the painter \Aiginetas. Another-i^""'-''

most curious fact and worthy of record is, that the latest works of sin^dar
artists and the pictures left unfinished at their death are valued f"^^*^ ««<^
, ^,.^.,,..
r harm of
more than any of their finished paintings, for example the Ins by Unfinished
i,T-i
Aristeides, the children of Tyndaros by Nikomachos, the Medeia "orks.
by Timomachos and the Aphrodite by Apelles, mentioned above. V
The reason is that in these we see traces of the design and the/
original conception of the artists, while sorrow for the hand that\
perished at its work beguiles us into the bestowal of praise.
J
There still remain certain painters whom, though artists of 146
repute, I can do no more than name in passing, \Aristokydes, frTv- /

list.

most important painters of the age of § 145. *}. tritor oolorum : cf.

Alexander, as praestantissimus . . . above, 85 qui colores tererent ; for

§

concipiendis visionibus, quas ipavjaalas the story of Erigonos's rise from

vocant ; cf. also Ailian, IIoiK. 'Ictt. ii. poverty to fame, cf. Lysippos, xxxiv,
44, where the warrior charging out of 61, Protogenes, above, § loi, Introd.
a panel is described. p. xlix.
Orestis iusaniam : ^ifl' 'Opiarov 8. BTealoao : above, §§ 104, 142.
fiTjTpoKToviav, Pint, de aud. Poet. 3. ut disoipulum rel. ; so likewise
Tlitiinyram. citliaroedum : cf. the Seilanion, xxxiv, 51, though himself
Corgosthenes tragoedus, by Apelles, a self-taught artist, leaves a celebrated
in § 93, the tibicina of Lysippos,xxxiv, pupil in Zeuxiades, Introd. loc. cit.

63, the psaltria by Leontiskos, in Aeginetae for the ethnic as

9. :

§ 141, &c. proper name cf. Fick, Gr. Personen-

5. Taurisous : his identity with namen, p. 333.
one of the sculptors of the Famese '
12. Aristidis : above, §§ 75, 98,
Bull can neither be proved nor dis-
' 108 ; for Nikomachos, § 108.
proved. He is perhaps the same as Mediam Tlmomaohi §§ 26, 136. :

the silver-chaser of xxxiii, 156, whom 13. quam diximus: above, §§ 87,
in xxxvi, 33, Pliny is careful to dis- 91.
tinguish from the sculptor. 14. quippe . . . extinotae: rheto-
discobolum : votive picture for rical ; for liniamenta reliqua cf. note
an athletic contest. on § 68.
 I70 C. PUNII SECUNDI NAT. HIST. XXXV
dicendi Anaxander, Aristobulus Sums,
Aristocydes,
Arcesilas Tisicratis Coroebus Nicomachi discipulus,
filius,

Charmantides Euphranoris, Dionysodorus Colophonius,

Dicaeogenes qui cum Demetrio rege vixit, Euthymides,
Heraclides Macedo, Milon Soleus Pyromachi statuari 5

discipuli, Mnasitheus Sicyonius, Mnasitimus Aristonidae

filius et discipulus, Nessus Habronis filius, Polemon
Alexandrinus, Theodorus Samius et Stadios Nicosthenis
147 discipuli, Xenon Neoclis discipulus Sicyonius. pinxere
et mulieres : Timarete Miconis filia Dianam quae in tabula 10
Ephesi est antiquissimae picturae, Irene Cratini pictoris filia

et discipula puellam quae est Eleusine, Calypso senem et

praestigiatorem Theodorum, Alcisthenen saltatorem, Arist-
arete Nearchi filia et discipula Aesculapium. laia Cyzicena
perpetua virgo M. Varronis iuventa Romae et penicillo 15
pinxit et cestro in ebore imagines mulierum maxime et
Neapoli anum in grandi tabula, suam quoque imaginem ad
148 speculum, nee uUius velocior in pictura manus fuit, artis
multum manipretiis antecederet celeberrimos
vero tantum ut
eadem aetate imaginum pictores Sopolim et Dionysium, 20

quorum tabulae pinacothecas inplent. pinxit et quaedam

Olympias, de qua hoc solum memoratur, discipulum eius
fuisse Autobulum.
§ 146. 2. Aroesilae : from his 7. Habronis: above, 5§ 93, 141.
date he may be identical with the 8. Theodorus Samius : on the
Arkesilaos, Paus.i, I, 3, whose picture different painters of this name see
of Leosthenes and his sons (a aviytvi- Brunn, K. G. ii, p. 285 ; if the identity
Kov)was in the sanctuary of Athena of his fellow-pupil Stadios with the
and Zeus in the Peiraieus. The ex- sculptor Stadieus of Pans, vi, 4, 5,
ploits of Leosthenes, mentioned by the master of Polykles (note on xxxvi,
Pausanias, took place B.C. 323. 35), were certain, his date would be
Tisicratis: pupil of Euthykrates towards 01. 150 = 8. c. 180.
of Sikyon, xxxiv, 83. § 147. 10. Timarete : the account
Wioomaohi: |§ 108, 145. of the women painters bears strong
3. Euphranoris § 128. : traces of Duris ; cf. Miinzer, op. cit.
5.Heraclides: above, § 135. p. 525; Introd. p. Ixv. The names
Pyromachi note on xxxiv, §
: 84. are given in inverted alphabetical
6. Mnasitheus ; the identification order. In connexion with the lady
wifli the Mnasilheos of Pint. Arat. painters it is interesting to note the
vii, suggested by Brunn, K. G. ii, charming Pompeian wall paintings,
p. 292, is more than doubtful. Helbig, Wandgemdlde, 1443, 1444 =
Mnasitimos : son of Aristonidas, Bliimner, Techn. iii, p. 226, iv, p. 460,
/. G. B. 197, above xxxiv, 140. the first of a woman painting a statue.
 /. PAINTING 111

iAnaxander, ^Aristobouhs of Syria, Arkesilas the son of Teisi-

krates, \Koroibos the pupil of Nikomachos, •\Charmantides the
pupil of Euphranor, \Dionysodorus of Kolophon, '\Dikaiogenes
who lived at the court of king Demetrios, \Eutkymtdes, iHera-
kleides ofMakedon and \Milon of Soloi, both pupils of Pyro-
machos the statuary, ^Mnasitheus of Sikyon, Mnasitimos the son
and pupil of Aristonidas, iNessos the son of Habron, \Pokmon
of Alexandria, Theodoras of Samos and Stadias, pupils of +Niko-
sthenes, and •\Xenon of Sikyon, the pupil of Nealkes.
Women too have been painters: \Tmarete the daughter of 147 ~~

Mikon, painted an Artemis at Ephesos in a picture of very archaic ^^^-^^^j.^.

style. Eirene, the daughter and pupil of the painter Kratinos, Timarete.
painted a maiden at Eleusis, \Kalypso painted portraits of an old j^alypso.
man, of the juggler Theodores, and of the dancer Alkisthenes ;

•fAristarete, the daughter and pupil of Nearchos, painted an Askle- Aristarete.

pios. \Iaia of Kyzikos, who remained single all her life, worked laia of
°^'
r
at Rome in the youth of Marcus Varro, both with the brush and -''"

with the oestrum on ivory. She painted chiefly portraits of women,

and also a large picture of an old woman at Naples, and a portrait
of herself, executed with the help of a mirror. No artist worked 148
more rapidly than she did, and her pictures had such merit that
they sold for higher prices than those of tSopolis and Dionysios,
well-known contemporary painters, whose works fill our galleries.

\Olympias also was a painter; of her we only know that ^Auto- Olymfias.

boulos was her pupil.

the second of a woman seated at her laia Oyzioena the alphabetical
:
—
easel. order is broken to insert a passage

Miconis filia : § 59 ; Eirene and taken from Varro, Introd. p. Ixxxiii.

Aristarete likewise figure both as daugh- 16. oestro in ebore i.e. inencau- ;

ters and pupils ; cf. MUnzer, loc. cit. stic on ivory (below, § 149), as opposed
11 antiquiss. pioturae : the exact to penicillo in the ordinary method of
meaning is difficult to comprehend tempera.
Brunn suggests that she affected an 1 7. in grandi tabula on a wood :

archaicising style. panel of course, and presumably with

Irene 'Siprivqv Ti)v Kparivov 61/70-
: the brush ; cf. BlUmner, Technol. iv,

T^pa,Clemens Alex, (quoting from p. 445, note 1.

Didymos) ^/rffOT. iv, 134, p.620, Pott; §148. 20. Sopolim the name is:

cf. § 140. still known only from Pliny, for in

12. puellam : translation of the Cic. fl(/. ^«. iv, 18, 4, it seems certain

Greek Kipa, so first Raoul Rochette, that solidis pecloribus is the reading,
Peint. Inidites, p. 222 ; cf. Brunn, and not e Sopolidis pictoribus (see
K. G. ii, p. 299. Baiter & Kayzer's critical apparatus).
13. praestigiatoreiu . . . saltato- Dionysium : § 113.
rem: chiastic order. 21. inplent rhetorical,
: cf. xxxiv,
14. Uearchi: above, §141. 36, reflevit urbem.
 172 C. PLINII SECUNDI NAT. HIST. XXXV
149 encausto pingendi duo fuere antiquitus genera, cera et in
ebore cestro, id est vericulo, donee classes pingi coepere.
hoc tertium accessit resolutis igni ceris penicillo utendi,
quae pictura navibus nee sole nee sale ventisque cor-
rumpitur. 5

§ 149. I. Sncausto pingendi discovery has freed the subject from

§ 122. Owing to Pliny's obscure some of its worst difficulties.
wording of the following passage the duo genera (i) cera et cestro on
;

whole subject of ancient encaustic is the usual materials, i.e. wood. (2)
beset with the gravest difficulties. For cera et cestro, on ivory, a less common
the literature up to 1887 see Bliimner, material, so that Pliny mentions it

Technol. iv, pp. 442 ff. ; a good ri- specially. Of the first method, the
sumi, with new suggestions, by Cecil portraits from the Fayoum now afford
Smith, art. Pictura, in Smith's Diet, numerous examples (see Berger, ii,
cf Ant. ii, pp. 392 ff. cf. also A. S.
; pp. 50 ff. ; Cecil Smith, loc. cit., &c.).
Murray, Handbook, pp. 394 ff. a highly ; The second method remains obscure,
important contribution has lately been but cf. the painted ivory fragments
made by the painter Berger, Bei- mentioned by Berger, i, p. 41 (in Pal.
trdge zur Entwickelungsgeschickte der Conserv. at Rome) and the ivory panel
Malertechnik, i, ii (1893 and 1895), in the British Museum with figure of
who has succeeded in proving painting a nymph, Murray, Handbook, p. 396,
in encaustic to be a totally different fig.117. It is notewortliy that the
process from the xavais of walls lady painter laia (§ 147) is the only
painted with an admixture of olive-oil artist known to have employed this
and Punic wax (Plin. xxi, 83), de- technique.
scribed by Vitruvius (vii, 9). This
 /. PAINTING 173

From the earliest times two methods of painting in encaustic 149

existed — one with wax, the other further
on ivory by means of ^^'^^"^ —
a oestrum or sharp point. When
became the fashion to paint it

ships of war, a third method was introduced, of melting the wax

by fire and using a brush. Paint applied to ships in this way
cannot be destroyed either by the action of the sun or of the
brine or wind.

2. cestro . . . verioulo : it is have been necessitated by the impossi-

Berger's merit {Beiirdge, i, p. 35 ff.) bility of pouring fluid colour from the

to have identified the cestrum among cestrum on to the vertical sides of a

the instruments found in the grave of ship. This explanation seems correct,
St. Medard {ib. figs. 2, 3; Bliimner, in so far at least as the meaning of
Technol. iv, figs. 66, 67), and among the writer of the Plinian passage
the Naples bronzes {Beitr. i, p. 43 ff.). is concerned. It would be in the
The one end shaped like a spoon
is : manner of certain ancient art-writers

with it the colours are held to melt to imagine a conventional develop-

over the cauierium or fire-pan (the ment of technique from cestrum to
misnamed hotte h couleurs of the brush, and then to prove the point
St. Medard grave), and then poured by appeal to practice.
over the panel ; the long handle 3. resolutis eeris : i.e. in a
thickens at the upper end, which is separate, preliminary process, whereas
used to level the colours. in the first two methods the colours
donee classes pingl ooepere : were both heated and applied by means
Berger, i, p. 38, explains the introduc- of the cestrum.
tion of the brush for ship painting to
 //. PL ASTICE.
151 De pictura satis superque. contexuisse his et plasticen
conveniat. eiusdem opere terrae fingere ex argilla simili-
tudines Butades Sicyonius figulus primus invenit Corinthi
filiae opera quae capta amore iuvenis, abeunte illo peregre,

umbram ex facie eius ad lucernam in pariete lineis circum- 5

scripsit, quibus pater eius inpressa argilla typum fecit et

cum ceteris fictilibus induratum igni proposuit, eumque

A.u.c. 608. servatum in Nymphaeo, donee Mummius Corinthum ever-

152 terit, tradunt. Samo primes omnium plasticen
sunt qui in
invenisse Rhoecum
Theodorum tradant multo ante
et ro
A.u.c. 97. Bacchiadas Corintho pulsos, Damaratum vero ex eadem
urbe profugum, qui in Etruria Tarquinium regem populi
Romani genuit, comitates fictores Euchira, Diopum, Eugram-
mum, ab iis Italiae traditam plasticen. Butadis inventum

§ 151. 2. eiusdem opere terrae 17 ed. Schwartz, p. 18 (see App. xi).

with these words Pliny harks back to Corinthi ; cf. § 16 ; Corinth and
his main theme in § i {Resiant terrae Sikyon now appear as the cradles
ipsius genera lapidumqtie) of which of the art of modelling. As Cecil
the History of the Painters has been Smith points out {Pictura, p. 401),
but an episode ; so again in § 1 66 he the legend that the Sikyonian Bou-
begins Verum et ipsius terrae ; see tades worked at Corinth, suggests
Frbhner, in Rhein. Mus. 47, 1892, an attempt to compromise the rival
p. 294. claims of both cities to artistic priority.
2. similitudines primus inve- 4. abeunte illo peregre: accord-
nit : Boutades invents (i) faces in
'
' ing to Athenagoras, the youth was not
relief, (2) faces applied as tile-ends, going away, but asleep.
(3) how to take the cast of the model 8, donee Mummius Corinthum:
for a statue, whereas Lysistratos (4) the sack of Corinth in B.C. 146 had
shows, finally, how to take the cast evidently become a conventional date
from a living model. The whole de- with which to connect the disappear-
velopment has a strong Xenokratic ance or destruction of works of art in
tinge ; see Introd. p. xxxiv. f. Greece.
3. Butades Sioyonius : the fol- 9. sunt qui : introduces paren-
lowing anecdote is told with slight thetically a valiant version of the
variations by Athenagoras, Hfta^tia, origin of TrKaaTiicii from the mention
;
 II. MODELLING.
Of painting I have said enough and more than enough, but it 151
may be well to add some account of clay modelling. It was by ^s^yon""^
the service of the selfsame earth that \Boutades, a potter of Sikyon, discovers

discovered, with the help of his daughter, how to model portraits f^f/,!^"^
in clay. She was in love with a youth, and when he was leaving
the country she traced the outline of the shadow which his face
cast on the wall by lamplight. Her father filled in the outline
with clay and made a model ; this he dried and baked with the
rest of his pottery, and we hear that it was preserved in the

temple of the Nymphs, until Mummius overthrew Corinth. 146 b.c.

According to some authorities clay modelling was first introduced 152

in Samos by Rhoikos and Theodoras, long before the expulsion of Rhoikos
the Bacchiadai from Corinth, and when Damaratos fled from that ^^^^j,
i°'

city to Etruria, where his son Tarquinius, afterwards king of Rome, Samos.
was born, he was accompanied by three potters, Eucheir, \Diopos, iq-^^{^\
and \Eugrammos, who introduced the art of modelling into Italy. Greek fot-
Boutades first added red ochre or modelled in red clay, and j^amaratos
toEtruria.
of the followers of Damaratos this (evxeip),and the skilled draughtsman
alternative account seems taken from while Diopus = Siottos is
(eiiy/ra/i/jos),

Cornelius Nepos (above, § 17, Introd. connected with Si<5?rTj;s or SiSirrpa, an

p. Ixxxv). The subject of Boutades is instrument for taking levels, the in-
resumed belo^v at ^i!«/afl'w «We«?«»«, vention of which (vii, 198) is attri-
and again at idem et de signis. buted by Pliny to Theodores, Urlichs,
10. Khoeoum et Theodorum: Cfirestom. p. 373. [A. Fick, Die
xxxiv, 83. Griechischen Personennamen, 2nd ed.
11. Damaratum; above, § 16. p. 254, believes these names to be
13. fictores: nXaoTai, fingere like given with regard to the bearer's trade
TtXaaaai being used of the artist who or occupation, and in many cases to
works in soft substances such as earth have supplanted the real name (of.
or wax, also who fashions by the hand note on Theorus, in § 144). They
(cf. the fingitque fremendo of Vergil, seem to me more have
likely to
Aen. 80); see on xxxiv,
vi, 7, and been favourite names in artist families,
below, on § 153. and to have been given at birth.
EuoMra . . . Eugrammum : re- H. L. U.] For Eucheiros see Coram,
spectively the skilled handicraftsman on p. 220.
 176 C. PLINII SECUNDI NAT. HIST. XXXV
est rubricam addere aut ex rubra creta fingere. primusque
personas tegularum extremis imbricibus inposuit, quae inter
initia prostypa vocavit, postea idem ectypa fecit, hinc et
fastigia templorum orta. propter hunc plastae appellati.
153 Hominis autem imaginem gypso e facie ipsa primus 5
omnium expressit ceraque in eam formam gypsi infusa
emendare instituit Lysistratus Sicyonius, frater Lysippi de
quo diximus. hie et similitudines reddere instituit, ante
eum quam pulcherrimas facere studebatur. idem et de
signis effigies exprimere invenit, crevitque res in tantum ut ^^
nulla signa statuaeve sine argilla fierent. quo apparet anti-
quiorem banc fuisse scientiam quam fundendi aeris.
154 Plastae laudatissimi fuere Damophilus et Gorgasus, idem
pictores, qui Cereris aedem Romae ad circum maximum

2. personas tegularum: numbers covered how to make models of

of these tile-faces from Etruria are to statues ; Lysistratos, however (autem),
be seen in almost every Museum cf. ; found out how to take casts of living
also the terra-cotta fragments from people, see note on § 151). The dis-
the treasuries at Olympia ( Olympia ii, placement arose, doubtless, from con-
Baudenhmdler, taf. cxx). fusion of notes ; it may be due to Pliny
4. fastigia : in Pliny used as a rule himself, or to his nephew when he pre-
of the figures of the akroteria, and pared the last books of the Hist. Nat.
not of the actual pedimental figures, for publication ; cf. Brunn, K. G. i,

cf xxxvi, 1 3 ; xxviii, i6 ; xxxvii, 14 p. 403, Furtwangler, Plinius, p. 59 f.,

xxxvi, 6, &c., below § 157 this mean- ; Mlinzer, op. cit. p. 510.
ing is borne out (i) by Vitruv. iii, 3, e facie ipsa: i.e. from the living
5 ornantque signis Jictilibus aut model ; the invention attributed to
aereis inauratis earum fastigia Tusca- Lysistratos has nothing whatever to
nico more, uti est ad Circum maxiTnum do with the custom of taking masks
Cereris, et Herculis Pomfeiani, item from the face of the dead.
Capitolii, (2) by Cicero, de Divin. i, 8. ante eum q. pulcberrimas

10, 16 cum Summanus in fastigio the observation is correct by the time ;

lovis opt. max., qui turn erat fictiliSj of Lysippos realistic portraiture had,
e caelo ictus esset, etc., (3) by Festus, if not superseded ideal or typical re-
s.v. Ratumena. Further, in Plut. presentation, yet asserted its right to
Caesar\)sx\\, d/cpcuTi^pioy corresponds to co-existence. It was, in a word, the age
the fastigium of Suet. Jul. 81 ; see when an athlete could be idealized as
Furtvvangler, A. Z. 1882, p. 346; the Apoxyomenos,' or portrayed with
'

Fowler in Amer. Journ. of Archaeol. the brutal realism of the bronze boxer
idii, 1893, p. 385. from Olympia (Olympia iv, Bronzen,
orta because the figured akroteria
: taf. ii), cf. the note on xxxiv, 16.

aro|e out of the earlier tile-faces. 9. idem et refers back to Bou-

;

§ 153. 5. Hominis . . . studeba- tades.

tur : the proper place for the '
inven- 1 1 . sine argilla : Pliny means that
tion '
of Lysistratos is after the third tomake a bronze statue without a clay
invention of Boutades, below (B. dis- model is impossible, though he — or
 //. MODELLING 177

placed masks as tile-fronts on the eaves of buildings, originally

called TTpi.'o-Tima, or low reliefs ; later on he made eKrvira, or high
reliefs, and these led ornamentation of the gables of temples.
to the
Since the time of Boutades artists who worked in clay have been
called modellers. {Lysistratos of Sikyon, brother of the Lysippos 153
whom I have mentioned in an earlier book, was however the first '
^V^^.^''^"^
. . . of Sikyon
who obtamed portraits by making a plaster mould on the actual takes casts

features,and introduced the practice of taking from the plaster /'^"^ *H

a wax cast on which he made the final corrections. He also first
rendered likenesses with exactitude, for previous artists had only
tried tomake them as beautiful as possible.) The said Boutades Boutades
discovered how to take casts from statues, a practice which was ^"^"r/fg^
extended to such a degree that no figure or statue was made statues.

without a clay model. Hence it is clear that the art of clay

modelling is older than that of bronze casting.
Most highly praised among modellers were \Damophilos and 154
''
iGorgasos ; they were also painters, and united both arts in the i^"^nd
decorations of the temple of Ceres at Rome near the Great Gorgasos
decorate
the Temple
his author — ^have used an ambiguous scription {versibus inscriptis Graece) of Ceres.
expression, which might imply that Thus if we get rid of the false assump-
there had been previous bronze statues, tion that this Damophilus could be
but made without a clay model, cf. identical with the master of Zeuxis,
furtwangler, Plinius, p. 60. The use we get rid of all the far-fetched com-
of clay models for marble statues seems binations necessary to reconcile the
to have been of altogether later date, date of D. of Himera (whose pupil
cf. § 155- Zeuxis about B.C. 404) with the
fl.

antiquiorem : so in xxxiv, 35, date of the temple of Ceres, B. c. 493.

prior (sc. plastic^ quatn statuaria —H.L.U.]. The difficulty of re-

fuit. conciling Demophilus and Damophilus

§154. 13. Damophilus: [although has been perceived by Freeman, Hist,
Damophilos is the Doric form of of Sicily, ii, p. 411 : 'It is a little

Demophilos, and both represent the startling to hear that the master of
same name, it is yet impossible to de- Zeuxis, with his colleague Gorgasos,
duce from this fact the identity of the painted the Roman temple which was
Damophilus mentioned here with the vowed by Aulus Postumius, victor at
Demophilus Himeraeus who appears Regillus.' Freeman, however, inclines
in§ 61, the master of Zeuxis. Himera to a conciliation Chronology may:
'

was an Ionic city, and it is out of the
question that one of its citizens should
ever have called himself by a Doric
form of his name. Yet we cannot
on the other hand doubt the form
Damophilus given here by Pliny for
he evidently had it from an authority
who was familiar with the actual in-
be appeased by the easy conjecture
that the painting of the temple, and
the Greek letters which recorded the
names of the artists, came a generation
or two later than the temple itself.'
; 14. Cereria aedem : note on xxxiv,
15, and the passage from Vitruvius
quoted above \mder fasiigia.
N
 178 C. PLINII SECUNDI NAT. HIST. XXXV
utroque genere artis suae excoluerant versibus inscriptis
Graece quibus significarent ab dextra opera Damophili esse,
ab laeva Gorgasi. ante banc aedem Tuscanica omnia in
aedibus fuisse auctor est Varro, et ex hac, cum reficeretur,
crustas parietum excisas tabulis marginatis inclusas esse, 5

155 item signa ex fastigiis dispersa. fecit et Chalcosthenes

cruda opera Athenis, qui locus ab officina eius Ceramicos
appellatur. M. Varro tradit sibi cognitum Romae Possim
nomine, a quo facta poma et uvas alitem nescisse aspectu
discernere a veris. idem magnificat Arcesilaum, L. Luculli 10

familiarem, cuius proplasmata pluris venire solita artificibus

156 ipsis quam aliorum opera ; ab hoc factam Venerem Gene-
tricem in foro Caesaris et prius quam absolveretur festina-
tione dedicandi positam, eidem a Lucullo HS. |X| signum
Felicitatis locatum, cui mors utriusque inviderit ; Octavio 15

9. alitem nescisse] Traube ;

item piscis (pisces, Bamb.) codd. ; item pisces
non possis Jan, Detlefsen.

1. utroque genere artis: i.e. the of the deme Thria. Lolling (loc.

decorations consisted of painted terra- cit.) dates the inscr. towards the close
cottas fine examples (from T. of
;
of the third century B.C.
Jupiter Capitolinus ?) exist at Rome 7. cruda opera : these have been
in Pal. Conserv., Helbig, i, p. 447 f. identifiedbyMilchh6fer(.4rir/4..S';«i/«e»,
2. ab dextra . . . ab laeva : cf. the Jif. Brunn dargebr. 1893, p. 50 £f.)
similar inscription, Anth. Pal. ix, 75S with the arjkKiuxra ia wti\ov, represent-
HjIXoiv lypaif/e t^v Bipav rilv Se^iiv, ing Dionysos feasting in the house of
T^v 5' €^i6vTa)v Sf^idr Atovvffios. Amphiktyon, which adorned a chapel
4. cum reficeretur ; after the fire — oiKriim —of the god's ri/ievos, in the
of B.C. 31; restored by Augustus, B.C. Kerameikos (Pans, i, .i, 5) the monu- ;

27, re-dedicated B.C. 17 (Tac. Ann. ment was presumably the votive offer-
ii, 49). ing of a guild of Dionysiac artists.

5. crustas : for reliefs cf. xxxiii, The work of the Delia Robbias
Italian
157, crustarius. may help us to a notion of what the
excisas : cf. Vitruv. ii, 8, 9, a group or relief looked like.
typical instance of the care taken in 8. appellatur the etymological
:

the first century B. C. to preserve attempt suggests Varroniau author-

archaic works. ship cf. note on xxxiv, 1 1, on xxxvi,
;

tabulis marginatis : below, § 14 {Jychniteri).

173- 9. poma et uvas : cf. the excellent
6. ex fastigiis: above, note on carvings of fruit, leaves and flowers on
§ 152- areliefoftheMuseod.Terme.Wickhoff,
* § 155. Chalcosthenes more : Wiener Genesis, p. 23, figs. 7, 8, 9,
correctly Kaikosthenes ; see on xxxiv, 10,and the beautiful garlands of fruit
87. From a basis {Af\Tiov, 1891, and flowers that adorned the Ara
p. 35 and p. 84) found in the actual
f. Pads of Augustus.
Kerameikos, we leam that K. was alitem nescisse : cf., in con-
 //. MODELLING 179

Circus, placing on it a metrical inscription in Greek to say that on

the right hand were the works of Damophilos, on the left the works
of Gorgasos. Varro tells us that in all earlier temples decorations
in the Etruscan style only were to be found, and that when this
temple was restored the ornamentation of the walls was cut out
and framed, and the statues that crowned the roof were dispersed.
Chalkosthenes also modelled in unbaked clay in the Potter's 155
Quarter at Athens, so called after his workshop. Marcus Varro ^^^^^
says that at Rome a man named \Possis was known to him who Possis.
made clay apples and grapes which the very birds could not
distinguish from nature. He also praises \Arkesilaos, the friend Arkedlaos.
of Lucius LucuUus, for whose clay models would pay more ^/j ^i^J artists

than was given for the finished works of others he made the ifiodeh. ;

156
statue of Venus the Mother in the forum of Caesar, which was
set up before it was really finished, so eager were his patrons
to dedicate it. He also accepted a commission from Lucullus to
make a statue of Good Fortune for 1,000,000 sesterces [^^8750
circ.]. Death, however, cut them both off before the statue was
completed. Arkesilaos also made a plaster model for a talent
[;£'2io circ.J for a Roman knightnamed Octavius, who proposed

firmation of Traube's reading, above, probably reproduce the statue, it ap-

§§ 23, 6.'), 66- pears that the Genetrix of Arkesilaos
10. idem magnifloat : cf. inxxxvi, was adapted from a Greek statuary
41 Arcesilaum quoque magnificat type which recent criticism has traced
Varro, hence the identity of authorship back to the 'Aphrodite in the gardens
for both passages. of Alkamenes (note on xxxvi, 16) ;
Aroesilaum : for his marble works cf. Furtwangler, ap. Roscher i, p.
see xxxvi, 33, 41 ; his Venus Genitrix 413-
and his Felicitas are mentioned here 14. signum Felicitatis : the tem-
because they apparently remained at ple of Felicitas had been built by
the stage of clay models. C. Licinins Lucullus, xxxiv, 69
L. LucuUi familiarem: Urlichs xxxvi, 39.
{Ariesilaos, p. 4) suggests that Lucullus 15. mors utriusque: Marcus
brought backArkesilaos with him from Lucullus died B. c. 58, and his
Athens when he visited that city in brother only survived him a. short
B.C. 88-7, cf. above, § 125. time (Plut L%u. xliii) ; hence since
11. proplasmata : see the ex- Arkesilaos wasstill at work for Caesar

cellentremarks of Wickhoff, Wiener in 46 (below), we must either

B. c.
Genesis, p. 25 f. and p. 41, on the imagine that he left an order of his
extensive use of the clay model in the patron unattended to for fifteen years,
first century B. c, and its influence on or follow Urlichs {op. cit. p. 5), in
the technique of marble ; cf. above, on supposing that it is the young
§ 153- Lucullus {clarissimus adulescens, Cic.
§ 156. 12. VeneremG-enetricem: Phil. X, 48), whose death (at Philippi

from the Roman coins which most in B. c. 42) is alluded to here. From
Na
 i8o C. PLINII SECUNDI NAT. HIST. XXXV
equiti Romano cratera facere volenti exemplar e gypso
factum talento. laudat et Pasitelen qui plasticen matrem
caelaturae et statuariae scalpturaeque dixit et, cum esset in
omnibus his summus, nihil umquam fecit antequam finxit.

157 praeterea elaboratam hanc artem Italiae et maxime Etru- 5

riae, Vulcam Veis accitum cui locaret Tarquinius Priscus

lovis effigiem Capitolio dicandam, fictilem eum fuisse et
ideo miniari solitum, fictiles in fastigio templi eius quadrigas,
de quibus saepe diximus, ab hoc eodem factum Herculem
qui hodieque materiae nomen in urbe retinet. hae enim lo

turn effigies deorum erant lautissimae, nee poenitet nos

illorum qui tales decs cpluere, aurum enim et argentum ne
158 diis quidem conficiebant. durant etiamnum plerisque in
locis talia simulacra, fastigia quidem templorum etiam
in urbe crebra et municipiis, mira caelatura et arte suique 15

firmitate, sanctiora auro, certe innocentiora.

xxxiv, 93 (where see note) we learn the temple at Luni, Milani, Mus. d.
that he rededicated a statue of Ant. Classica, i, 1884, pp. 89-112;
Herakles originally set up by his where see further literature.
father ; it is therefore not surprising 7. lovis efagiem fictilem
. .

to find him commissioning Arkesilaos, cf. Juv. xi, lie, ficHlis et nulh vio-
an old friend of his family, with latus lupiter auro. From Servius'
a statue for the temple built by his (on Edog. X, 27) description of the
grandfather. Roman iriumphatores, who were
Ootavio eq.uiti : according to Ur- adorned lovis optimi maximi ornatu
lichs, Arkesilaos, p. 17, perhaps identi- we learn that the god was represented
cal with the upstart {perraefilms') who standing with the thunderbolt in his
pestered Cicero with invitations to right (cf. Ovid Fast, i, 202 inque
dinner, Cic. Fam. vii, 9, 16. lovis dextra fictile fulmen erat) and
2. Pasitelen: xxxiii, 156; xxxvi, the sceptre in his left. This ancient
40. image was destroyed B.C. 83, in the
3. scalpturae : here = sculptura fire which laid the temple in ashes.
[so also Plin. the Y. Ep. i, 10, has It was replaced by a gold-ivory
scalftor for sculptor. — H.
the L. U.] ; Jupiter —
the work of an ApoUonios
term is generally used of the graver's — after the model of the Olympian
art, as an equivalent of the Greek Zeus of Pheidias (cf. Chalcidius on
Plato's Timaios, 338 C, p. 361, ed.
§ 157. 5. maxime Etruriae : the Wrobel, and Loewy on /. G. B. 343,
remark is confirmed by the
fully p. 242).
splendid remains of large terra-cotta Capitolio note on xxxiv, 38.
:

(figures, discovered in Italy; cf. 8. miniari solitum enumerat :

especially the pedimental figures from auctores Verrius quibus credere ne-
 //. MODELLING iSt

to have a goblet cast from it. Varro further praises Pasiieks, Pasiteles.

who said that modelling

was the mother of chasing, statuary and ^'P''"-
sculpture, and who, though he excelled in all these arts, never „pon the
executed any work without first making a clay model. The art ^^7
o
/•in. y
.
.
value of
ot modellmg, agam, accordmg to Varro, was developed in Italy, the day

and more especially in Etruria, and Tarquin the Ancient summoned ™'"^^^-

an artist called tVulca from Veil to make a statue of Jupiter for

the Capitol. This statue was of clay and was therefore painted
red ; the four-horse chariots on the gables of the temple, which
I have mentioned so often, were also of clay. Vulca further
made the Hercules still known at Rome as '
the clay Hercules.'
These were the most magnificent statues known in those days, and
we have no reason to be ashamed of the men who worshipped
deities of clay, and would not, even for their gods, change gold
and silver into images. Effigies of clay still exist in different 158
places, while gable ornaments in clay are still to be seen even at
Rome as well as in provincial towns. The admirable execution Beauiyand
of these figures, their artistic merits and their durability make "r^"''^
them more worthy of honour than gold, and they are at any rate andentday
images.
more innocent.

cesse .sit lovis ipsius simulacri faciem was adorned with painted
richly
diehus festis minio inlini solitam . . . decorations cf. Q\c.deDiv.\, lo, i6;
;

Plin. xxxiii, iii ; see also Servius on J-iv.per. 14; and see note on § 154
£d. vi, 62 ; X, 27 ; cf. in Greece the for possible remains of these decora-
painting with white, at her festival, of tions.
the image of Athena Skirrophoria. 9. saepe diximus ; viii, 161; xxviii,
flotiles . . .quadrigas also the : 16.
work of Valentine artists, Plut. Poplic. Herculem : often identified (but
xiii ap\ia Karci Kopvcp^v (sc. vitij on the very slightest grounds) with
Tou KoTT. Ai.) kni(TTT](7ai K€pafL€ovv the Hercules jictilis of Martial xiv,
e^iSaiKe (sc. d TapKovivtos) TvppTjvois 178.
Ttatv If Oiijfwv SrjiuovpyoTs. These 10. hae enim turn efflgies: this
are the chariots whose miraculous rhetorical tribute to the simplicity of
swelling in the potter's furnace was theancientRomanimageswas asoldas
interpreted as an omen of the future —Cato, or as Cato reported by Livy
greatness of Rome (Plin. xxviii, 16 {7iViyi\v,^,^)infesta,mihicredite,signa
cum in fastigium eiusdem delubri ab Syracusis illata sunt huic urbi.
(Jup. Cap.) fraefaratae quadrigae iam nimis midtos audio Corinthi et
fictiles in fornace crevissenf). These Athenarum ornamenta laudaniis
chariots were replaced in B. C. 296 niirantisque et antejixafidilia deorum
by a lovem in culmine cum quadrigis, Romanorum ridentis. ego hos malo
apparently of bronze (Liv. x, 23, 12). fropitios deos et iia spero futuros, si
The roof of the temple of the Tarquins in suis manere sedibus patiemur.
 C. PLINII SECUNDI

NATURALIS HISTORIAE
LIBER XXXVI, §§ 9-44

{SCULPTURA)
 SCULPTURA.
Lib.
XXXVI.
Marmore scalpendo primi omnium inclaruerunt Dipoenus
et ScylHs geniti in Creta insula etiamnum Medis imperan-
tibus priusque quam Cyrus in Persis regnare inciperet, hoc
est olympiade circiter quinquagensima. hi Sicyonem se
contulere, quae diu fuit officinarum omnium talium patria. 5

deorum simulacra publice locaverant iis Sicyoni, quae prius

quam absolverentur artifices iniuriam questi abiere in
10 Aetolos. Sicyonem fames invasit ac sterilitas
protinus
maerorque dirus. remedium petentibus Apollo Pythius
respondit: si Dipoenus et Scyllis deorum simulacra per- 10

fecissent, quod magnis mercedibus obsequiisque impetratum

5. talium] metallnm omnes praeter Bamb.

§ 9. 1. Marmore scalpendo: with 2. geniti in Creta: contains a

the exception of the a-yaX/ia of the trace of the legend preserved in Paus.
Lindian Athena €« \i6ov afiapdySov, ii, 15, I, that they were the sons of
mentioned on the doubtful authority the Athenian Daidalos and a woman
of George Kedrenos (Overbeck, of Gortyn. By representing artists
Schriftqu. 337 ; cf. Brunn, K. G. i, bom in Crete as active in Sikyon,
p. 44), Dip. and Skyllis seem only to a similar compromise between the
have made wooden images, Pans, ii, 1 5, rival claims of ancient art centres is
1 ;22, 5 Clement of Alex. TrpoT-pcTrT.
; effected to that noted in the case of
X157. Iv, p. 42 the gilt bronze images
; Boutades, xxxv, 151; cf. Miinzer, loc.
mentioned by Moses of Chorene cit.

{Schriftqu. 336) were more probably Medis imperantibus ; the Ar-

of gilt wood. It is evident that in the menian historian Moses of Chorene
original Greek authority (Xenokrates recounts that Ardashir ( — Kyros) took
from the character of the passage away from Kroisos three statues of
and the stress laid on Sikyon see ; Artemis, Herakles and Apollo by
Intvod. p. xxv) these artists had been Dipoinos and Skyllis. The date
discussed in connexion with the assigned to the artists seems calcu-
beginnings of bronze statuary; lated with reference to this event as
Munzer, Hermes, xxx, 1895, p. 523 follows Kyros : could take away
cf. Robert, Arch. March, p. 22. works by D. and S. at the time of his
 SCULPTURE IN MARBLE.
Book
XXXVI.
As sculptors in marble, the first to win fame were Difoinos 9
and Sky His, born before the fall of the Median empire, and -^^"^ ''*' ,

before Cyrus began to reign in Persia, that is about the fiftieth sculpture.
Olympiad [580-577 b.c.J, in the island of Crete. They migrated
to Sikyon, which was long the home of all such crafts. The
state of Sikyon gave them a commission for certain images of the
gods, but before these were completed the artists, aggrieved at
the treatment they met with, departed into Aitolia. Sikyon soon 10
afterwards was visited by famine, failure of the crops and dire
affliction. The inhabitants sought relief from the Pythian Apollo,
and received the answer that the evil would cease when Dipoinos
and Skyllis should complete their statues of the gods, a concession
which was hardly won from them by money and by personal defer-

conqnest of Kroisos (b. c. 546), there- in Aetolos : named by the

fore the artists must have been of legend as the artists' place of refuge
repnte even before the accession of because there existed in that region
Kyros (b. c. 556), Robert, op. cit. works by D. and S., i. c at Ambra-
p. 18 f. kia (§ 14), which, though not in

4. oirciter : cf. xxxiv, 49 : cir- Aitolia, was towards the close of the
eiier CCC urbis nostrae annum. third century the most prominent city
Sicyonem . . . patria : cf. xxxv, of the Aitolian league. A Greek
127 diuque (Sikyon) ilia fuit f atria writer of that date (Antigonos ? cf. In-
picturae. trod. p. xxxvii) might say indifferently
6. prius quam absolv. : the ih 'AfJ-^paKiav or ds AItqj\ovs Miin- ;

following anecdote, whose artificial zer, op. cit. p. 524.

character is obvions, has been shovm § 10. 8. protinua . . . dirus : tous

by Petersen, de Cerere Phigalensi, 5^ avdp^-novs . . . vdaos kn4\a^€v, Paus.
p. 13 ff., to be a mere adaptation loc, cit.

of the local myth recorded Pans, ii, 9. remedium . . . impetratum

7,7- est : Koi ff(pas inkKsvov ot p-avreis

7. iniuriam guesti : fivojiivov 'AiT6Wan'a t\aaaaSai «ai 'Apre/uv . . .

Zk <T(ptn (Apollo and Artemis)

SfifmTos . . . 01 t^ev Is Kp-qTTju . . . dire- (paffLV Is T^V dKp6TT0XlV k\OitV.
TpdirovTO, Faus. loc. cit.
 i86 C. PLINII SECUNDI NAT. HIST. XXXVI
est. fuere autem simulacra ea Apollinis, Dianae, Herculis,
Minervae quod e caelo postea tactum est.
11 Cum hi assent, iam fuerat in Chio insula Melas scalptor,
dein filius eius Micciades, ac deinde nepos Archermus, cuius
filiiBupalus et Athenis vel clarissimi in ea scientia fuere 5

Hipponactis poetae aetate, quern certum est olympiade LX

fuisse. quodsi quis horum familiam ad proavom usque
retro agat, inveniat artis eius originem cum olympiadum
12 initio coepisse. Hipponacti notabilis foeditas voltus erat,
quamobrem imaginem eius lascivia iocorum hi proposuere lo

ridentium circulis, quod Hipponax indignatus destrinxit

amaritudinem carminum in tantum ut credatur aliquis ad
laqueum eos conpulisse. quod falsum est, conplura enim
in iinitimis insulis simulacra postea fecere, sicut in Delo,
quibus subiecerunt carmen non vitibus tantum censeri 15

Chion sed et operibus Archermi filiorum. ostendunt et

13 lasii Dianam manibus eorum factam. in ipsa Chio narrata
est operiseorum Dianae facies in sublimi posita, cuius
voltum intrantes tristem, abeuntes exhilaratum putant.
Romae eorum signa sunt in Palatina aede Apollinis in 20

17. lasii] Riccard.; 'Lasii Samb., Detlefsen; lasi Voss.

1. Apollinis . . . Minervae : the Melas (Me[A.]a[i']os iraTpiiiov aa\Tv

list is alptiabetical ; the statues there- ye/ioi'Tes]) of the third line is pre-
forewere no part of a group but single sumably not the father of Mikkiades,
works, H. L. Urlichs in GSrlitz. but, as SchoU and Robert pointed out
Verhandl. p. 330, note 2. {Arch. March, p. 116 f.), a local hero
Dianae possibly
identical with
: cf Chios, son of Oinopion Ion ap. ;

the ibavov Artemis Munychia

of Paus. vii, 4, 8. The account in Pliny
mentionedby Clement, irpoTpeirr. X.6yos, restsupon this or a similar inscription
43 cf. Urlichs
iv, p. : loc. cit. ; Robert, the blunder with regard to Melas may
Arch. March, p. 22. have been committed early by a Greek
§ 11. 3. Cum hi essent to the : writer cf.
; note on Demarate in
account of D. and S. is now opposed xxxiv, 88.
(from another source) that of the soalptor = sculptor ; cf note on
Chian school. Introd. p. xxvi. xxxv, 156.
Melas Micciades . Archer-
.
. . . . 4. Archermus : besides the Delos
mus :
the three names appear
on inscription, the name occurs on a later
the famous inscription from Delos inscr., m the Ionic alphabet, from the
{/.G.B.i; best restored by Lolling, Athenian Akropolis, C. I. A. iv, 373, 95.
'mp. dpx. 1888, p. 71 cf. E. A.
ff. ; 5. Bupalus et Ath. the fact
;

Gardner in Class. Rev. 1893, p. 140), that they were sons of Archermos
where 'Apxepi^os (2nd line) appears was doubtless also taken fi-om an
as son of Mi«/no8i;s (1st line). The inscription; Miinzer, op. cit. p. 524.
 SCULPTURE IN MARBLE 187

ence. The statues in question were of Apollo, Artemis, Herakles,

and Athene : this last was afterwards struck by lightning.
Before their day, however, the sculptor Melas had already lived 11
in the island of Chios, succeeded by his son Mikkiades and his 5^^/^/"'
grandson Archermos, whose sons, Boupalos and Athenis, were
masters of great renown in their craft in the time of the poet
Hipponax, who certainly lived in the sixtieth Olympiad [540-537
B.C.]. Thus counting four generations backwards to their great
grandfather, the birth of sculpture is found to coincide with the
first Olympiad [776-773 Hipponax was conspicuous for
B.C.]. 12
his ill-favoured countenance, which incited the sculptors in wanton
jest to display his portrait to the ridicule of their assembled
friends. Incensed at this Hipponax lampooned them so bitterly
that, as some believe, they were driven to hang themselves. This,
however, cannot be true, for they afterwards made in the neigh-
bouring islands, as for example, in Delos, a number of images of
the gods, under which they carved verses saying that Chios was
not honoured for her vines alone but for the works of the sons of
Archermos. show an Artemis made by their hands,
lasos too can 13
while in Chios we hear of a mask of Artemis by them,
itself

which is placed at a height in the temple, and presents a gloomy

countenance to those who enter the temple, a cheerful one to
those who are leaving. At Rome statues by them are to be seen
on the summit of the temple of Apollo on the Palatine, and
6. LX olympiade : the Parian March. ^. w^ i.

Chronicle gives his date as 01. 59, 3 = 12. ad laaueum : this portion of
B. C. 54^. the story is the doublette of the story
8. olymp. initio : the calculation of Lycambes and Archilochos. The
isbased on the false assumption that a credatur aliquis introduces it as
generation=theaveragefullIifeofsixty apocryphal, while in the following
years ; cf. Furtwangler, Plinius, p. 17. sentence it is proved an invention.
§ 12. 9. notabilia foeditaa : cf. 14. in Delo : like their father
Metrodoros of Skepsis, ap. Athen. xii, Archermos.
552 c. The only ascertained factor 17. laaii: in the neighbourhood
in the whole anecdote is the poet's of Chios. The words ostendunt . . .

attacks {acer koslis Bupalo) upon the ^a/a«; betray mere periegetic curiosity
two artists (Bergk, Lyr. Gr. ed. 4, (Furtwangler,i%»i«f,p.6i); theyare
fr. 10-14; Colligaon, Jlist. Sculpi. i, from a different source to the earlier
p. 141); it is probable that when part of the account, which is based
the real cause for these attacks had upon a. study of inscriptions. Since
been forgotten, a new one was elabo- Mucianus visited lasos (ix, 33) it is
rated out of the statues of Boupalos reasonable to attribute this infonna-
and Athenis, the archaic character of tion to him ; Introd. p. Ixxxix.
which struck later generations as § 13. 30. inPalatinaaede xxxiv, :

simply grotesque; cf. Robert, ArcA. 14.

 i88 C. PLINII SECUNDI NAT. HIST. XXXVI
fastigio etomnibus fere quae fecit divus Augustus, patris
quoque eorum et Deli fuere opera et in Lesbo insula.
14 Dipoeni quidem Ambracia, Argos, Cleonae operibus re-
fertae fuere. omnes autem candido tantum marmore usi
sunt e Paro insula, quern lapidem coepere lychniten appel- 5

lare, quoniam ad lucernas in cuniculis caederetur, ut auctor

est Varro, multis postea candidioribus repertis, nuper vero
etiam in Lunensium lapidicinis. sed in Pariorum mirabile
proditur glaeba lapidis unius cuneis dividentium soluta
15 imaginem Sileni intus extitisse. non omittendum banc lo

artem tanto vetustiorem fuisse quam picturam aut statua-

riam, quarum utraque cum Phidia coepit octogensima tertia
olympiade, post annos CCCXXXII. et ipsum Phi- circiter
dian tradunt marmora, Veneremque eius esse
scalpsisse
16 Romae in Octaviae operibus eximiae pulchritudinis. Al- i.^

camenen Atheniensem, quod certum est, docuit in primis

nobilem, cuius sunt opera Athenis complura in aedibus
sacris praeclarumque Veneris extra muros quae appellatur
Aphrodite Iv KriTToii. huic summam manum ipse Phidias

in fastigio : 1. e. the si^na were Cleonae for which they made

:

akroterial figures (see note on xxxv, the image of Athena ; Paus. ii,
152), the pedimental and other decora- 15, i.
tions also consisting of archaic sculp- refertae : rhetorical : of. in xxxv,
ture ; of. the archaic Amazon published 1 48 quorum tabulae pinacothecas
by Petersen, Rom. Mitth. iv, 1889, imphnt.
p. 36 f. 4. omnes autem ; i. e. the Chian
I . et omnibus fere : rhetorical sculptors as well,
exaggeration : cf. the ex omnibus 5. lychniten : the etymology is

clarissima quaeque in xxxiv, 84, H. L. thoroughly Varronian, cf. notes on

\3TViA\%, Rhein. Mus. 1889, p. 487. xxxiv, 11; xxxv, 155; according to
I 14. 3. Dipoeni harks back : Lepsius, Griechische Marmorstudien,
to § 10. p. 45, it rests on fact : the marble
Ambracia: see note on Aetolos came from the underground quarries
in §9; the foundation of Am- about five miles N.E. of the ancient
brakia by Gorges son of Kypselos city of Pares ; Lepsius noticed here
(Strab. 452) affords us an upper
X, a number of holes cut obliquely into
limit for the activity of D. and S. in the walls of the rock, the purpose of
that city. The Ambrakiot works which he believes was to suspend the
of art were taken away to Rome by workmen's lamps by their hooked
Fulvius Nobilior, B.C. 189. handles.
Argos: for which D. and S. 10. imaginem Sileni cf the simi- :

made of ebony wood a group of the lar story, Cic. Div. i, 13, 23 fingebat :

Dioskouroi and their families ; Paus. Cameades in Chiorum lapicidinis

ii, 22, 5. saxo diffiso caput exstitisse Panisci.
 SCULPTURE IN MARBLE 189

indeed in almost all the temples built by the god Augustus.

Works by their father Archermos existed at Delos and in the
island of Lesbos. Ambrakia, Argos, and Kleonai Avere filled full 14
of the works of Dipoinos. All these artists used none but white
Parian marble, called lychnites
\\vxviTr]s], as Varro says, because Marble of
itwas quarried by lamplight in underground passages. Since P'^''"^-
then many marbles of a purer white have been discovered, and
again quite recently in the quarries of Luna. A marvellous story
tells how in the quarries of Paros a block which was being split

with wedges, opened and disclosed a figure of Seilenos.

Nor must I forget to say that the art of sculpture is much 15

older than that of painting or of bronze statuary, both of which ^/^/^"^^^

began with Pheidias in the eighty-third olympiad [448-445 b. c.\ painting
some 332 years later. It is said that Pheidias also worked in
'''^atimrv^"
marble, and that an Aphrodite by him of surpassing beauty is

at Rome in the gallery of Octavia. It is certain at all events

that he taught Alkamenes of Athens, a sculptor of the first rank, 16.

many whose works are
of in the temples of Athens, while out- ,„^„'^j

side the city is his famous statue, known as '

Aphrodite eV (cijTrois-,'

or '
in the gardens.' Pheidias himself, according to tradition,

§ 15. hano artem sc. sculp- : Parthenon and the whole tendencies
turam by implication, although the of his school, and from the express
kind of art has not been previously testimony of Aristotle, Eth. Nicom.
mentioned cf. notes on xxxiv,
; 56 vi, 7 '^^ S^ trotpiav iv tc rais rex^o^s
•

{hanc scientiam')', xxxv, 153 [Jianc toT^ a.Kptl3eaT&T0is rcis rexvas ciTTodiSo-

scientiaTfC) /icy, oXov ^eiSiav \iQovy6v aotpbv ital

12. quarum xxxiv, 49 utraqtie :

;
HoXvtcXinov dvSpiavroTroLdvj evravOa
xxxv, 64; as regards painting Pliny piiv oZv oiiSiv aWo arjftaipovTes rf/v
forgets that he had himself argued ao(piav,^ on aperri rixvjjs idTiv.
that its beginnings were still earlier 15. Octaviae operibus: cf. § 35,

than Pheidias. Introd. p. xxx. where another Aphrodite {aliam

14. tradunt : [tradition as opposed VenerenC) by Philiskos is mentioned
to real fact, i. e. whether he was a as being in the same gallery,
sculptor in marble or not, it is certain § 16. Alcamenen xxxiv, 49 and
:

{quod certum est) that he taught 72. The only dateable work by Alka-
Alkamenes. So in xxxv, 54, tradatur menes is his group of Athena andHera-
is opposed to in confesso sit ; in xvii, kles, dedicated in the Herakleion at
49, sunt qui adspergant. quod. . . Thebes after the downfall of the Thirty
certum est sol confert, H.L. U.]
. . . Tyrants in 403 B. c. (Paus. ix, 11, 6).
scalpsisse marmora : Pliny's Pliny's account of Alkamenes and
Greek authors had laid chief stress on Agorakritos seems borrowed from
the bronze works of Pheidias, xxxiv, Antigonos, Introd. p. xlii.

54 that he must have been equally

; 1 7. Athenis : see note on xxxiv,
celebrated for his works in marble 49, Olymp. Ixxxiii.
is evident from the sculptures of the 19. hi ktittois: on the Ilissos, Paus.
 I90 C. PLINII SECUNDI NAT. HIST. XXXVI
17 inposuisse dicitur. eiusdem discipulus fuit Agoracritus
Parius et aetate gratus, itaque e suis operibus pleraque
nomini eius donasse fertur. certavere autem inter se ambo
discipuliVenere facienda, vicitque Alcamenes non opere
sed civitatis suffragiis contra peregrinum suo faventis. 5

quare Agoracritus ea lege signum suum vendidisse traditur,

ne Athenis esset, et appellasse Nemesin. id positum est
Rhamnunte pago Atticae, quod M. Varro omnibus signis
praetulit. est et in Matris magnae delubro eadem civitate
18 Agoracriti opus. Phidian clarissimum esse per omnes gentes lo

quae lovis Olympii famam intellegunt nemo dubitat, sed ut

laudari merito sciant etiam qui opera eius non videre, pro-
feremus argumenta parva et ingeni tantum. neque ad hoc
lovis Olympii pulchritudine utemur, non Minervae Athenis
factae amplitudine, cum sit ea cubitorum XXVI, —ebore haec is

et auro constat —sed in scuto eius Amazonum proelium

parmae eiusdem concava
caelavit intumescente ambitu, in
parte deorum et Gigantum dimicationes, in soleis vero
Lapitharum et Centaurorum, adeo momenta omnia capacia

i. 19, i. According to a generally Alkamenes recorded by John Tzetzes,

accepted theory of Furtwangler, the -j^yXm^fs, 931.
Alkamenian statue is reproduced in the 7. iCfeinesin : Wilamowitz {Anti-
statues of the Venus Genitrix type
' '
gonos Karystos, p. 11) points out
v.

(Louvre, Giraudon, 1176; Florence that the story of the Nemesis having
Alinari, 1331). been intended for an Aphrodite
huio snmiuain manum the : originated in the fact that the
words almost imply that the same Rhamuusian Nemesis differed from
reproach attached to Alkamenes as the type usual at a later date. Cf.
to Agorakritos, namely, that Pheidias Paus. i, 33, 7 Hrcpd 8' tx"" ""''f
:

allowed his own work to pass off as tovto tA ayaXixa 'Sifiiixeas oiiT€ aWo
his pupil's, cf. Pallat in Jahrb. ix, TreiroirjTai rSiv d,px<>.iaiv ... 01 S\ varepov,
1 894, p. 14. im(paivea9ai yap t7)v 9ebv pAMara lirl

§ 17. 1. Agoracritus: Overbeck, t£ ipav kSeXovaiv, im. Toira 'Sein.iaa

Schriftquellen, 829-843. irTe/ick llia-nep "Eptori iroioSai; cf. Am-
3. nomini . . . donasse: the mianus Marcellinus, xiv, 25-26
11,
scandal recorded here vrithout special (ed. Gardthausen, p. 42), and Kalk-
any one work was used
allusion to mann, Pattsanias der Perieget, p. 206.
by Polemon {ap. Zenobios f, 82) 8. Hhanmunte : a fragment of
as an argument wherewith to vin- the colossal head of the Nemesis was
dicate for Pheidias the authorship of discovered here, and is now in the
the Agorakritan Nemesis. lutrod. Brit. Mus. {Cat. Sculpt, i, 460).
p. xxxix. Numerous fragments of the basis (Leda
certavere : cf. the story of the bringing Helen to Nemesis, Paus. loc.
competition between Pheidias and «V.) were recovered in 1890, and are
 SCULPTURE IN MARBLE 191

put the last touches to this work. He also taught Agorakritos of 17

Paros, whom
he so loved for his youthful grace, that he allowed krit^'.
several of his own works to pass under his name. The two
pupils made statues of Aphrodite for a competition, and Alka-
menes received the prize, not from the merit of his work, but
because the Athenians voted for their fellow-citizen against
a foreigner. The story runs that Agorakritos thereupon sold his
statue, imposing the condition that it should not be set up at
Athens, and called it Nemesis. It now stands in Rhamnous,
a deme of Attica, and Marcus Varro esteems it above all other
statues. There is another statue by Agorakritos in the same city,

in the shrine of the Great Mother.

The renown of Pheidias among all peoples who realize the 18
glory of his Olympian Zeus cannot be brought in doubt ;
yet so
^^isfn^
that even those who have not seen his works may know that his ventive
''"
praises are well deserved, I shall cite those minute details in which ^^^i^
it was only left to him to display the resources of his inventive
faculty. For this purpose I shall not appeal to the beauty of his
Olympian Zeus, nor to the size of his Athena at Athens, though
she is 26 cubits [37 ft. 10 in.] in height, made all of gold and
ivory ; but I shall instance her shield, on the convex face of which
he represented the battle of the Amazons, and on the concave
surface the conflict between the gods and giants, while on the side
of her sandals were the Lapithai and the Kentaurs. So true was
it that in his eyes every tiny space afforded a field for art. The
published, Jahrb. ix,1894, pi. 1-7, numerous references in other authors
pp. 1-22 (Pallat). Pausanias, who is coll. by Overb. A'Ary^yae//. 693-754.

never curious in the matter of ascrip- 14. Minervae : xxxiv, 54 ; Pans,

tions, simply attributes the work to i, 24, 5 ; Overbeclc, 645-696 ; a rough
Pheidias, as he likewise did the Roman copy in the statuette from the
'
Mother of the Gods by Agorakritos,
' Varvakeion (Athens, Central Mus.
and the Athena by Kolotes (see cast in Br. Mus., Cat. Sculpt, i, 300 ;

note on xxxv, 54). cf. 301).

9. Matris magnae del, : MjjrpSs 16. scuto : a small late copy is

Biwv Upov, Pans, i, 3, 5, where preserved in the ' Strangford ' shield,
the statue is erroneously ascribed to Brit. Mus. Cat. Sculpt, i, 303 ; for the
Pheidias himself. For the type of the latest discussion of the style of the
goddess seethe fine relief of undoubted reliefs and of the supposed portraits
Pheidian style, ^. Z. 38, 1880, pi. i; of Pheidias and Perikles, see Furt-
Roscher, ii, p. 1663, fig. 5. Addenda. wangler, Masterpieces, p. 48.
§18. II. lovis Olympii : xxxiv, 18. soleis: cf. inthe Mus. Conserv.

49 ; 54 ; full description of the statue in at Rome the colossal foot wearing

Pans. V, 10, 2 : beneath the feet of a sandal adorned along the edge with
Zeus was the artist's inscription, *ei5ias a train of Tritons (Helbig, Class. Ant.
XapiiiSov vBs 'ABijvcuSs liroitjixe the
/J,' : 596).
 192 C. PLINII SECUNDI NAT. HIST. XXXVI
19 artis illi fuere. in basi autem quod caelatum est Pandoras
genesin appellant : dii adsunt nascenti XX numero. Victoria
praecipue mirabili periti mirantur et serpentem ac sub ipsa
cuspide aeream sphingem. haec sint obiter dicta de artifice

numquam satis laudato, simul ut noscatur illam magnifi- 5

20 centiam aequalem fuisse et in parvis. Praxitelis aetatem

inter statuarios diximus, qui marmoris gloria superavit
etiam semet. opera eius sunt Athenis in Ceramico, sed
ante omnia est non solum Praxitelis verum in toto orbe
terrarum Venus quam ut viderent multi navigaverunt lo

Cnidum. duas fecerat simulque vendebat, alteram velata

quam ob id
specie, praetulerunt quorum condicio erat Coi,
cum eodem pretio severum id ac pudicum arbi- detulisset,
trantes. reiectam Cnidi emerunt inmensa differentia famae.
21 voluit eam a Cnidiis postea mercari rex Nicomedes, totum 15
aes alienum quod erat ingens civitatis dissoluturum se pro-
mittens, omnia perpeti maluere, nee inmerito, illo enim
signo Praxiteles nobilitavit Cnidum. aedicula eius tota
aperitur ut conspici possit undique effigies dea favente ipsa,

I. caelatnin est — Pandoras genesin appellant — dii Gerhard, Detlefsen,

2. adsunt nascenti] Urlichs in Chrest.; sunt nascentis ^?Vot;-i/. ; sunt nascentes
reliqui; sunt adstantes Detlefsen. 3. z.z\post verbum aeream /w. Panofka,
Detlefsen. 4. a.a^!L-nx\ Bamb., reliqui; aureum Urlichs, Detlefsen.

§ 19. I . Pandoras genesin Paus. : Pausanias, p. 98) . We have there

i, 24, 7 : from the hesitating manner fore retained the MSS. reading, which
in which the statement is introduced can be construed though the sense is
by appellant, it appears that either not absolutely clear. The confusion,
Pliny or his Latin author had not however, is more likely due to Pliny's
thoroughly grasped the meaning of hurrying over details, than to the
the Greek; cf. Jahn, Kunsturtheile, copyists. Sub ipsa I take to mean
p. 127. 'about on a level vnth'; aeream is
i. dii adsunt: the composition evidently correct, for had the sphinx
is preserved on the basis of the Perga- according to Pliny— been of gold, like
mene copy of the Athena Parthenos, the rest of the statue, there would
ya/5;-3. V, 1890, p. 114, fig. 9. have been no need to mention its
Victoria : koX Nifcrjv oaov tc material.
reaaapcuv -mixaiv . . . Ix". Paus. lac. § 20. 7.diximus : xxxiv, 69-70.
"^' 8. in Ceramico : refers to grave
3. ac sub ipsa . . : sphingem : statues by Praxiteles in the Athenian
tjie reading
adopted by Detlefsen cemetery. Pausanias (i, 2, 3) mentions
brings Pliny into
agreement with a grave kmerjim ex'"" a-rpaTiimjV
Pausanias («ai TrX-qaiov toC Soparos iiriT(ii vapearr]x6Ta- ovTtva filv ovk olSa,
Spaxuv iaTiv), but does intolerable Upa^neKris Si xai tov 'iirirov koX tov
violence to the MSS. (cf. Gurlilt, aTpnTtarriv kiroiriaev (notes on xxxiv,
 SCULPTURE IN MARBLE 193

relief on the base is known as the yeVcrit of Pandora; the 19

gods present at the birth are twenty in number. The Victory is

most wondrous, but connoisseurs admire also the serpent and

further the bronze sphinx beneath the spear of the goddess. Let
these passing remarks on a sculptor whose praises can never end,
serve at the same time to show that even in the smallest details
the opulence of his genius never fell short.
Praxiteles, whose date I gave among the bronze workers, outdid 20
even himself by the fame of his works in marble. Statues by his P''"'^^'^^"-
hand exist at Athens in the Kerameikos, while famous not only
among the works of Praxiteles, but throughout the whole world,
is the Aphrodite which multitudes have sailed to Knidos to look Aphrodite
upon. He had
two statues of Aphrodite for sale at the
offered
^-'^
'^ ""'"'•

same time, the second being a draped figure, which for that
reason was preferred by the people of Kos with whom lay the
first choice ; the price of the two figures was the same, but they
flattered themselves they were giving proof of a severe modesty.
The rejected statue, which was bought by the people of Knidos,
enjoys an immeasurably greater reputation. King Nikomedes 21
subsequently wished to buy it from them, offering to discharge
the whole of their public debt, which was enormous. They, how-
ever, preferred to suffer the worst that could befall, and they
showed their wisdom, for by this statue Praxiteles made Knidos
illustrious. It stands in a small shrine, open all round so that

70, 71, and on ias expir. imagines oi 11. velata specie: this second
Apelles in xxxv, 90). For tlie Plinian Aphrodite is still to seek for a pos- ;

phrase, cf. Cicero, de Leg. ii, 26, 64 sible echo of the work, see Furt-
amplitudines sepulcrorum, quas in wangler, op. cit. p. 322 f.

Ceramico videmus; Wolters, Aiken. § 21. 15. voluit . . . mercari ; at

Mitth. xviii, 1893, p. 5 f. and note i. the close of the first Mithridatic war,
10. Venus . . . Cnidum: the B. C. 84, when Nikomedes III (King of
statue is represented on coins of Bithynia B. c. 90-74), who had been
Knidos, Gardner, Types, xv, 21; for expelled from his kingdom by Mithri-
a revised list of the marble copies, see dates, was reinstated by the Romans.
Furtwangler, Masterpieces, p. 322, 16. aes alienmn for the heavy
;

note 3 ; the best known is in the contributions exacted by Sulla from

Vatican, Helbig 316 (good cast with- the Greek states of Asia Minor, cf.

out drapery in South Kensington Applan, Mi9/]i8. 63.

Museum). The notices in ancient 18. aedioula: for a detailed de-

vreiters coll. by Overbeck, Schriftquell. scription of the statue and its shrine,
1227-1248. The information as to cf. Lucian, 'Epwrcs, 13.
the Knidian Aphrodite is from Muci- 19. deafavente ipsa: in allusion
anus. Introd. p. Ixxxvii. to the legend that the goddess herself

O
 194 C. PLINII SECVNDI NAT. HIST. XXXVI

ut creditur, facta, nee minor ex quacumque parte admi-

ratio est. ferunt amore captum quendam, cum delituisset
noctu, simulacro cohaesisse, eiusque cupiditatis esse indicem
22 maculam. sunt in Cnido et alia signa marmorea inlustrium
artificum, Liber pater Bryaxidis et alter Scopae et Minerva, 5

nee mains aliud Veneris Praxiteliae specimen quam quod

inter haec sola memoratur. eiusdem est et Cupido obiectus
a Cicerone Verri, ille propter quem Thespiae visebantur,
nunc in Octaviae scholis positus, eiusdem et alter nudus in

Pario colonia Propontidis, par Veneri Cnidiae nobilitate et i°

iniuria, adamavit enim Alcetas Rhodius atque in eo quoque
23 simile amoris vestigium reliquit. Romae Praxitelis opera
sunt Flora, Triptolemus, Ceres in hortis Servilianis, Boni
Eventus et Bonae Fortunae simulacra in Capitolio, item
Maenades et quas Thyiadas vocant et Caryatidas, et Sileni ^S

in PoUionis Asini monumentis, et Apollo et Neptunus.

24 Praxitelis filius Cephisodotus et artis heres fuit. cuius
laudatum est Pergami symplegma nobile digitis corpori

served the artist as model. Clement of obieotus : Verreshad robbed Heius

Alexandria, npoTpfirT. \6yos 53, names of Messana of another Eros by
the courtesan Kratina as model. Praxiteles ; Cicero's allusion to the
2. amore captum : cf. below, Thespian statue was to impress upon
§ 22, § 39. Similar stories were told the judges mirum quendam dolorem
also of a Hebe by Ktesikles, Adaios, accipere eos^ ex quorum urbibus haec
ap. Athen. xiii, p. 606 a, of an 'AyaOi) auferantur.
Tvxrj near th Prytaneion in Athens, 8. propter . . . visebantur : Cic.
Ailian, noi/c. lar. ix, 39. Verr. II, iv, 2, 4: Cupidinem fecit
§ 22. 5. Bryaxidis: below, § 30; (Praxiteles) ilium qui est Thespiis,
xxxiv, 42, 73. propter quem Thespiae visuniur; nam
Soopae : below, §§ 25, 28, 30, 31 ; alia visendi causa nulla est; cf. ib.

xxxiv, 49. 60, 135-

7. Cupido : given as a present to 9. Octaviae scholis part of the :

Phryne, Pans, i, 20, i ; cf. Athen. xiii, complex of buildings known as the
p.591 b. The Eros was brought from Opera Octaviae ; these were probably
Thespiai to Rome by Gains Caligula, rooms opening on to the gallery or
restored to Thespiai by Claudius, and porticus itself
finally brought back to Rome by alter nudus the type was first
:

Nero ; it was destroyed in u, fire, in identified by Furtwangler on coins

the reign of Titus (Pans, ix, 27, 3). of Parion {ap. Roscher, i, 13? 8);
Furtwangler (Masterp. p. 314 ff.) later Benndorf {Bull, delta Comm.
follows Visconti in recognizing copies Arch. 1886, p. 74) recognized a mar-
of the statue in the Eros of Cento-
'
ble copy in the ' Genius Borghese
celle '
(Helbig, 185) and its numerous of the Louvre (phot. Giraudon,
replicas. 1201).
 SCULPTURE IN MARBLE 195

the statue, which was made, as is believed, under the direct

inspiration of the goddess, can be seen from every side, nor is
there any point of view from which it is less admirable than from
another.
There are in Knidos other marble statues by great sculptors, 22
a Dionysos by Bryaxis, another Dionysos, and also an Athena by
Skopas, and there is no more forcible panegyric of the Aphrodite
of Praxiteles than the fact that among all these it alone is
remembered. Praxiteles also made the Eros with which Cicero Eros of
taunted Verres, that Eros for whose sake men travelled to
^
Thespiai. It is now in the ' schools ' of Octavia. He made
a second nude Eros in the colony of Parion, on the Propontis,
a figure as celebrated as the Aphrodite of Knidos.
At Rome the works of Praxiteles are Flora, Triptolemos and 23 :

Demeter in the gardens of Servilius, the images of Good Luck

and Good Fortune in the Capitol, further the Mainads, the
figures known as Thyiades and Karyatides, the Seilenoi in the
gallery of Asinius PoUio, and an Apollo and Poseidon.
Kephisodotos, the son of Praxiteles, was also the heir to his 24
gepius. Greatly admired is his celebrated group at Pergamon of ^^f^""'

in Pario oolonia : v, 141 ; xxxiv, 15. Maenades: for Attic fourth-

78 ; it was the seat of a very ancient century types of the maenads see
cult of Eros, Paus. ix, 27, i (Furt- Rapp ap. Roscher, ii. 2270.
wangler, ap. Roscher, i, 1342). Thyiadas : •pivatKis iiiv elaai

§ 23. 12. Eomae : at this point *ATT(«ai, ^oirSiaai 5^ Is riv THapvachv

begins a description of works of art in napa €Tos . . . dyovffLv opyia Aiovvirqi,

Rome, which is continued with only Paus. X, 4, 3. KapvaTidcs, maidens

a few interruptions to the close of the of Karyai, who danced at the festival
history of the marble sculptors in § 43. of Artemis, Pans, iv, 16, 9.

Flora, Tript., Ceres: pre-

13. 16. PoUionis Asini mon. : in the

sumably in a group Flora must be ; Museum connected with the famous

the Greek K(i/>a, and owes her Latin library, Plin. vii, 115 ; both apparently
name to the wreath she was holding as adjomed the Atrium Libertatis, which
on the relief. Overbeck, Kunst. Myth. was restored by Asinius PoUio, cf.
pi. xiv, 3, 4 'E(f7;/i. dpx- 1893, P- 35-
;
Suet. Aug. 29; Ovid, Tristia, iii, i,

hortis Servilianis from Suet. : 72 ; Gilbert, Rom, iii, p. 338, note 2.

Nero, 47, this must have been § 24. 17. Cephisodotus xxxiv, :

on the Via Ostiensis ; cf. Tacitus, 51. 87-

Ann. XV, .^$ ; Bist. iii, 38 ; C. I. L. 18. Pergami: the information is

vi, 8673, 8674. from Mucianus, Introd. p. Ixxxix.

Boni Ev. et Bonae I'ort.= [From Tac. Ann. xvi, 23, it appears
'A7aflis laifuiiv and 'A7a9^ Ttixi/ ; for that anumber of works of art were still
the received Attic type of these divi- at Pergamon in the reign of Nero.

nities see the votive relief in the Brit. H.L.U.]

Mus. {Mus. Marbles, xi, pi. 47). symplegma : [probably here of

O 3
 Ig6 C. PLINII SECUNDI NAT. HIST. XXXVI
verius quam marmori inpressis. Romae eius opera sunt
Latona in Palati delubro, Venus in Pollionis Asini monu-
mentis et intra Octaviae porticus in lunonis aede Aescula-
25 pius ac Diana. Scopae laus cum his certat. is fecit

Venerem et Pothon, qui Samothrace sanctissimis caerimonis 5

coluntur, item Apollinem sedentem Palatinum, Vestam

laudatam in Servilianis hortis duosque campteras circa eam,
quorum pares in Asini monimentis sunt, ubi et canephoros
26 eiusdem. sed in maxima dignatione delubro Cn. Domitii
in circo Flaminio Neptunus ipse et Thetis atque Achilles, 10

Nereides supra delphinos et cete aut hippocampos sedentes,

item Tritones chorusque Phorci et pistrices ac multa alia
marina, omnia eiusdem manu, praeclarum opus, etiam si

nunc vero praeter supra dicta quaeque

totius vitae fuisset.
nescimus Mars etiamnum est sedens colossiaeus eiusdem 15

manu in templo Bruti Callaeci apud circum eundem, prae-

7. campteras] Bamb.; camiteras reliqui; lampterasya«, Detlefsen.

an erotic couple, cf. Martial, xii, § 25. 4. Scopae laus : § 22 ; § 30.

43 ; Amobius, vii, 33 (ed. Reiffer- 5. Venerem et Pothon : the Samo-

scheid, p. 267), and for this use of thrakian cult seems to have developed
aviiirXfyna, Soph. Fr. 556, Plato, out of that of Demeter and Hermes
Symp. iQi, Aeta.— H. L. U.] That Kadmos ; cf. Crusius, Fleckeiseti
this symplegma had an erotic signi- Jahrb. 128, p. 298; Beitrdge z.

ficance is proved by the comparison Griech. Myth. p. 15. For the temple
with the group of Pan and Olympos of Aphrodite at Megara, Skopas had
(I 36) quod est alterum in terris sym- made statues of Eros, Himeros, and
plegma nobile. i Pothos ; Pans, i, 43, 6.
digitis . . . inpressis ; cf. HSrondas, Samothrace Mucianns, who had
:

iy, 59 f. (ed. Crusius) : visited Samothrake, is again Pliny's

rhv irarSa 6^ (^hv') yvfivdv ijv Kviaoj authority here, Introd. p. xc.
TOVTOV 6. ApoU. Palatinum ; for the
temple, cf. xxxiv, 14 ; above, § 24
2. Iiatona: Crusius (German transl. below, § 32. Propertius, ii, 31, 15,
of Herondas, p. xiv, note) suggests describes the statue as follows :

possible identity with the Leto which deinde inter matrem deus ipse in-
had stood in Kos, Herondas, ii, 98. terque sororem
Falati delubro ; below, § 32. Pythius in longa carmina neste
3. luuonis aede: below, §35; sonat.
§42- (The Apollo referred to in 1. 5 f. of
Aesculapius : according to Cru- the same elegy has been shown by
sius (loc. cit.), possibly identical Hiilsen, Rom. Mitth. ix, 1894, p.
with the Asklepios by 'the sons of 240 f, to refer to a quite distinct statue
Praxiteles' (01 Tlpri^nikfoi imrSes) in which stood in the courtyard of the
the temple of Kos ; Herond. iv, 20 ff. temple.) The Skopasian Apollo, the
 SCULPTURE IN MARBLE 197

figures interlaced in which the fingers seem to press

[o-ij/ijrXe-yfia],

on on marble. At Rome his works are: the

flesh rather than
Leto in the temple on the Palatine, an Aphrodite in the gallery
of Asinius Pollio, and the Asklepios and Artemis in the temple of
Juno within the portico of Octavia.
The praise of Skopas vies with theirs. He made the Aphrodite 25
and rioSor, or Desire, which are worshipped in Samothrake with ^™P'^^-
the holiest ritual, also the Apollo on the Palatine and, in the
gardens of Servilius, a seated Hestia which is praised, and beside

her two pillars whose pendants are in the galleries of Asinius,

where also is his Kavrjcjiopos [basket-bearer]. But most highly 26
esteemed of all his works is the group in the temple built by
Gnaeus Domitius in the Circus of Flaminius it comprises Posei- :

don himself with Thetis and Achilles, Nereids riding on dolphins

and sea monsters or on sea horses, and Tritons and the train of
Phorkos, with sea beasts and a tumult of creatures of the deep,
the whole by the same hand, a wondrous work, even were it that
of a life-time. Yet in addition to the works I have named and
those which are unknown to us, we have by the same artist an
Ares, a colossal seated figure, now in the temple built by Brutus
Callaecus close to the Circus of Flaminius, besides a nude

Kitharoidos, is represented on coins Poseidon at Astakos-Olbia (Uriichs,

of Nero (Overb. J^olL Munztaf. v, Skopas, p. 130).

47,48, 50, 51). 10. oiroo Plaminio: cf. Gilbert,

7. campteras : i. e. goals or Rom, iii, p. 89.

columns marking in the stadium the ipse : i.e. the temple-statue; Becker,
turning-point for runners or chariots Top. p. 619, note 13; cf. simulacrum.
(Kaii-uTuv) ; cf. the metae on the sar- ipsum in xxxiv, 66.
kophagos, Helbig, Class. Ant. 339 ;
Thetis . . . marina : the group
these columns might be profusely represented the passing of Achilles to
adorned with sculpture. the Isles of the Blest; Uriichs, Skopas,
§26. 9. delubro; i. e. of Neptune. p. 133 ff. ; cf. Fleischer ap. Roscher,
It is imcertain which of the Domitii i, p. 53. Pliny's description is tinged
built it ;Uriichs ( Griechische Statuen by reminiscences of Virgil, Aen. v,

im Rep. Rom, p. 19) inclines to attri- 240.

bute the original building to the consul 15. Mars . . . sedens : the Ares
of B. c. 121, who celebrated with great Ludovisi (Helbig, 883) —a statue dis-

splendour his triumph over the Ar- tinctly Skopasian in style— is probably
verni, and its restoration to his great- a reduced copy of this work ; see
grandson, the consul of B.C. 32 ; this Furtwangler, Masterpieces, p. 304.

later Domitius now placed in the 16. Bruti Callaeoi : (D. Junius)
temple the great SI<opasian group, cos. B.C. 138; celebrated his triumph
presumbly brought from Bithynia, over the Callaici B. c. 1 32 ; the archi-
of which he was governor B. C. 40-35, tect of the temple was Hermodoros of
and where was a famous temple of Salamis, Nepos ap. Priscian, Fragm.
 igS C. PLINII SECUNDI NAT. HIST XXXVI
terea Venus in eodem loco nuda Praxiteliam illam ante-
27 cedens et quemcumque alium locum nobilitatura. Romae
quidem multitudo operum, etiam obliteratio ac magis offi-
ciorum negotiorumque acervi omnis a contemplatione tamen
abducunt, quoniam otiosorum et in magno loci silentio talis 5

admiratio est. qua de causa ignoratur artifex eius quoque

Veneris quam Vespasianus imperator in operibus Pacis suae
28 dicavit antiquorum dignam fama. par haesitatio est in
templo Apollinis Sosiani, Niobae liberos morientes Scopas
an Praxiteles fecerit, item lanus pater in suo templo dicatus 10
ab Augusto ex Aegypto advectus utrius manu sit, iam
quidem et auro occultatus. similiter in curia Octaviae
quaeritur de Cupidine fulmen tenente. id demum adfirma-
29 tur, Alcibiaden esse principem forma in ea aetate. multa
in eadem schola sine auctoribus placent : Satyri quattuor, 15
ex quibus unus Liberum patrem palla velatum umeris
praefert, alter Liberam similiter, tertius ploratum infantis

Hist. Rom. 13, p. 227; cf. Gilbert, was by Skopas (cf Amelung, Basis
Rom, iii, p. 88. des Praxiteles, p. 67). The ancient
§ 27. 2. Bomae quidem : for the critics evidently Skopas confused
sentiment of the whole passage, cf. and Praxiteles, precisely as do the
Hor. Ep. i, 10. [It became a common- moderns.
place of silver Latinity to contrast the 10. lanus pater: a bearded double
noise of the city with the quiet of the terminal bust, rechristened at Rome as
villas, see also Pliny's Introd. to Bk. Janus. [What divinity it originally
xiv Pliny, Ep. iii,
; 4 nunquamporro
1 8, represented is impossible to tell, for
aut valde vacat Romae, aut com- the Romans were absolutely with-
modum est audire recitantem ; Ep. out scruple in renaming statues; cf.

iii, 5, 13 haec inter medios labores Pseud. Dio Chrys. xxxvii, 42 Kopiv0.
urbisque fremitum ; and Ep. i, 9 ; for a Poseidon rededicated as Jupiter.
cf C. F. Herrmann iiber d. Kunstsinn — H. L. U.] According to Wernicke,
der Romer, p. 46.^ — H. L. U.] Jahrb. v, 1890, p. 148, this 'Janus'
7. operibus
Paois connected : may be identical with the Skopasian
with the Temple and Forum of Peace, herm {not Hermes), Anth. Plan. 192.
xxxiv, 84. in suo templo the shrine in the :

§ 28. 9. ApoUinis Sosiani: xiii,53, Forum (xxxiv, 33) can scarcely have
the surname from C. Sosius (the legate been spacious enough to hold a second
of Antony), who brought the sacred statue: it is slill doubtful which
cedar-wood image of the god from temple is meant ; Roscher, {Lex. ii,

Seleukia, and restored the temple 26 f.) suggests a temple of Janus

note on xxxv, 99. belonging to the Forum Augustum,
liiobae : if the group was identical while Jordan {Hermes, iv, p. 239)
with the original of the Florence thought of the temple in the Forum
statues, the style —especially of the Holitorium; cf. Peter, Ovid's Fasti,
heads —can leave no doubt that it ii, p. II.
 SCULPTURE IN MARBLE 199

Aphrodite now in the same place, which surpasses even the

Praxitelean goddess, and would suffice to make famous any other
spot. At Rome indeed the works of art are legion ; besides, one 27
effaces another from the memory, and above beautiful as they ^^^^^^"
all,
/„
are, people are distracted by the overpowering claims of duty and Jiome ob-
'"^
business, for to admire art we need leisure and profound stillness, ^i^^^ '

For this same reason we are ignorant of the sculptor of the

Aphrodite dedicated by the emperor Vespasian in the galleries of
his temple of Peace, a work worthy of the old masters. It is likewise 28
uncertain whether Skopas or Praxiteles made the dying children
of Niobe in the temple of the Apollo of Sosius, and again which
of them made the Father Janus brought by Augustus from Egypt
and dedicated in his own temple the Janus, moreover, is now
;

disguised by gilding. The same difficulty arises in the case of

the Eros holding a thunderbolt, in the Council Chamber of
Octavia ; this only is certain, that it is the portrait of Alkibiades,
the handsomest man of his day. Many groups by unknown 29
artists attract us in this gallery ; such as the four Satyrs, one of
whom is carrying on his shoulders a cloaked Dionysos, the second
carries Ariadne in the same way, the third is soothing a crying

11. ex Aegypto : cf. xxxv, 131, portrait — andaportrait of Alkibiades;

28, and notes. I take no responsibility in the matter,

iam quidem : in exculpation. but thus far is certain, that Alkibiades

12. aurooocultatus : the gilding is was the most beautiful man in the
specially mentioned, as unusual in the period to which the statue belongs,
case of a marble statue ; cf. Wunderer, 14. Alcibiaden : the statue had
Manibiae, p. 10 ; note on xxxiv, 63. most probably nothing to do with
similiter quaeritur from . . . : Alkibiades, but the connexion in the
works as to which it was doubtful popular mind arose from the well-
whether they were by Skopas or known liriffij/ioy on his shield (Plut.
Praxiteles Pliny passes on to general Alkib. 16).
doubts, and thence to statues by § 29. 15. eadem sehola : Gilbert,

unknown masters {sine auctoribus) ;

loc. cit.

Wernicke, op. cit. p. 150. 16. Liberum . . . palla velatum

in curia: certain rooms of the the description of the fully draped figure
opera Octaviae served occasionally for suggests the Dionysos supported (not
meetings of the Senate ; Dio Cassius, carried) by a Satyr in the ' Ikarios'

Iv, Josephus, Bell. Jud. vii, 5, 4

8 relief (Schreiber, Hell. Reliefs, xxxvii).
;

Gilbert, Rom, iii, p. 249, note i. palla = iiiTi\os, usually understood of

13. fulmentenentei'EpousKcpawo- the cloak worn by women, though
rf,(Spos. practically identical with the lix&nov.

id . . . adfirmatur: Wernicke {loc. 17. Liberara similiter : a Maenad

cit.) explains Pliny's meaning to be as carried by a Satyr, misunderstood as

follows : the individuality of the fea- an Ariadne ; cf. Furtwangler, Flinius,

tures leads people to suppose this is a p. 10.

 C. PLINII SECUNDl NAT. HIST. XXXVI
cohibet, quartus cratere alterius sitim sedat, duaeque Aurae
velificantes sua veste. nee minor quaestio est in saeptis
Olympum et Pana, Chironem cum Achille qui fecerint,
praesertim cum capitali satisdatione fama iudicet dignos.
30 Scopas habuit aemulos Bryaxim et Timo- eadem aetata 5

theum et Leocharen, de quibus simul dicendum est, quoniam

Mausoleum, sepulchrum hoc est ab uxore
pariter caelavere
Artemisia factum Mausolo Cariae regulo, qui obiit olympia-
dis CVII anno secundo. opus id ut esset inter septem
miracula hi maxime fecere artifices, patet ab austro et 10

septentrione centenos sexagenos ternos pedes, brevius a

II. centenos] Urlichs in Chrest., Detlefsen ; om. Bamb., reliqui.

ploratum iufautis cohibet : re- 4. capitali satisdatione : xxxiv,

calls the well-known
group in the 38.
Louvre (phot. Giraudon, 1182) and § 30. 5. Scopas : the dates for
its numerous replicas (Rome, Helbig, his activity are comprised between
11; phot. Alinari, 6673) of Seilenos his work for the temple of Athena
nursing the babe Dionysos. Alea at Tegea (after the fire B. c.
1 duaeque Aurae : cf. the so- 394, Pans, viii, 45, 4) and his work
called ' Nereids of the Xanthian ' tomb for the Mausoleion (about B. c.
353)
(Brit. Mus.), which have been shown by and for the Artemisiou of Ephesos
Six,y. H. S. xiii, p. 131, to represent (after the fire of B. c. 356, below § 95).
the ABpoi ; Pindar, 01. ii, 70, ftaxapav aemulos : cf. xxxiv, 49, aemuli
vdffos wKeaviSc^ trept-nv^oiaiv ; see also XXXV, 64.
Max. Mayer ap. Roscher, ii, 2147 ff. Bryaxim: xxxiv, 73; for his signa-
2. neo minor quaestio above, : ture Bp^a^is k-noTjaiv on the basis
note in § 28 on similiter . . . quaeritur. adorned with reliefs of horsemen see
in saeptis i. e. in the galleries : AeXriov, 1891, p. ^e,; Bull. Corr. Hell.,
which surrounded the voting-place XV, 1891, p. 369, plate vii 'Etpr/ix. apx. ;

of the Comitia, after the luxurious 1893, plates 6, 7. The inscription is

alterations planned by Caesar (Cic. of about the date of the Mausoleion
Att. iv, 16, 14) and completed by (cf. plates 4, 5, for a torso of
Nike
Augustus ; cf. Dio Cassins, liii, 23. foimd not from the basis, and
far
Olympum et Pana the group
3. :
which Kavvadias, ii. p. 46, supposes
inNaples of the bearded Pan teaching to have crowned the monument).
a young boy the syrinx (Friederichs, Timotheum xxxiv, he
: 91 ;

Bausieine, 654; Helbig, Untersuch. may have been already advanced in

p. 156) is commonly thought to years when he worked upon the
reproduce this work. Mausoleion the inscription
; (Kav-
Chironem oum Aohille : the vadias, Fouilles cVEpidaure, no. 241,
subject is preserved in wall-paintings 1. 36 f.) recording his contract for fur-
(Helbig, Wandgem. 1291-1295), of nishing models and sculptures for the
which the best preserved and most Temple of Asklepios at Epidauros,
famous is Helbig 1291. A head Paus. ii, 32, 4, is dated by
Kavvadias
from a. marble copy is in the Pal. (p. 85) at the commencement of the
Conservat. ; Helbig, Class. Ant. 572. fourth century, while Foucart, Bull.
 SCULPTURE IN MARBLE
child, and the fourth quenches the thirst of another child out of
a goblet ; further, the two wind goddesses spreading their robes as
sails. It is equally uncertain who made the groups in the voting
enclosures of Olympos and Pan, and of Achilles and Cheiron, and
yet such is their renown that the custodians are obliged to pledge
their lives for their safety.
Bryaxis, Timotheos, and Leochares were rivals and contempor- 30
aries of Skopas, and must be mentioned with him, as they TheMauso-
Ictoti
worked together on the Mausoleion. This is the tomb erected
by Artemisia in honour of her husband Mausolos, prince of
Karia, who died in the second year of the hundred and seventh
Olympiad [351 B.C.], and its place among the seven wonders of
the world is largely due to these great sculptors. The length of
the south and north sides is 163 feet ; the two fagades are

Corr. Hell, xiv, 1890, p. 589 ff., little trust can be placed in his criticism
places it at about B. c. 375. of the text. —
On architectural grounds
6. tieocharen : for his date see on alone, Mr. Oldfield's reconstruction
xxxiv, 50. may have merits of which the present
7. Mausoleum: a history of its writer feels incompetent to judge. We
discovery, a discussion of the restora- have translated faithfully from cod.
tions proposed, and the chief literature Bamb., and in the notes I attempt no
up to 1891 are given by Newton in harmonizing of the Plinian description
Smith's Z)eV/. ^«/. ii, p. I56ff. Students with monumental evidence, nor can
will read with interest the latest I point out discrepancies, for the
restoration, attempted by E. Oldfield, simple reason that any impartial
Archaeologia, 1895, pp. 2715-362. student must admit that the real shape
But it is as useless and unsatisfactory of the Mausoleion and distribution of
as others so far as the Plinian text is its parts remain as much a riddle
concerned. Mr. Oldfield starts by now as before. —The whole description
rejecting in ioto the variant readings of the Mausoleion is taken from Muci-
of cod. Bamb., and does this without anus, Introd. p. Ixxxviii.
adequate knowledge of the character 8. Mausolo . . . regulo: he was,
of this MS. Especially unsatisfactory as a fact, only a satrap under the king
is his rejection of circumitum, for the of Persia ; Diodoros, xvi, 36, gives
besetting sin of the Bamb. is not the B. c. 353 as the date of his death.
introduction of words or syllables, but 9. inter septem miracula : it

their omission H. L. Uilichs' note

(cf. figures in the oldest canonical lists.

on xxxiv, 69 Liberum patrem). Fur- 7 he various lists of the '

Seven Won-
ther, the facts that Mr. Oldfield writes ders '
are conveniently printed together
in ignorance of anything more recent by Orelli in the Appendix to his
than Sillig's second edition, that he edition of Philo Byzantius, pp. 141-
is unacquainted either with Detlefsen's 150. lb. pp. 192-194 will be found
edition, or with his article on the all the ancient descriptions of the
PlinianMSS. in th.tPkilologus{i. xxviii), Mausoleion.
or with the Chrestom. of Urlichs, and II. centenos: this addition is

that he confuses Ottojahn (p. 2 84 and p. unavoidable if we are to accept the

290) with Ludwigvonjan, show how total 440 feet as correct.
 C. PLINII SECUNDI NAT. HIST. XXXVl

frontibus, toto circumitu pedes CCCCXXXX, attollitur in

altitudinem XXV cubitis, cingitur columnis XXXVL pteron

31 vocavere circumitum. ab oriente caelavit Scopas, a septen-
trione Bryaxis, a meridie Timotheus, ab occcisu Leochares,
priusque quam peragerent regina obit, non tamen recesse- 5

runt nisi absoluto iam, id gloriae ipsorum artisque moni-

mentum iudicantes, hodieque certant manus. accessit et
quintus artifex. namque supra pteron pyramis altitudine
inferiorem aequat, viginti quattuor gradibus in metae
cacumen se contrahens. in summo est quadriga marmorea 10

quam fecit Pythis. haec adiecta CXXXX pedum altitudine

32 totum opus Timothei manu Diana Romae est in
includit.
Palatio Apollinis delubro, cui signo caput reposuit Avianius
Evander. in magna admiratione est Hercules Menestrati
et Hecate Ephesi in templo Dianae post aedem in cuius 15

I. CCCCXXXX] ^ffimi5. ;
quadringentos undecim ?-«//^«j. 2. XXXV
Detkfsen. 11. aXiitaimt] Bamb., Riccard., Lips. ; altitudinem, Z'«//«/J««.

2. pteron vocavere : cf. in § 19, the chariot has been made clear by
XlavhCjpas yeveffiv appellant. P. Gardner, /. .ff: ^. xiii, p. 188 fF.

§ 31. 3. ab oriente Scopas . . . II. Pjrthis: Vitruvius, fe. «V., gives

. . . Leocliares the endeavours to
: the name Phyteus (MSS.), but the
identify the styles of each sculptor identity is not certain.
in the extant slabs have up to now § 32. 12. Timothei manu : the style
been unsatisfactory. The dominant of this artist can now be satisfactorily
thought and design seem Skopasian. studied in the sculptured decorations
Vitruvius {viupraef. 1 2), in his account of the Asklepieion at Epidauros ; from
of the Mausoleion, names Praxiteles the inscription (above, note on § 30, 5)
as one of the sculptors (on this point we learn that he contracted (fXiro) to
see Amelung, Die Basis des Praxiteles construct (Ip'^&aaaBm') and provide
aus Mantinea, p. 55 f.). —
models {rv-noi') presumably
(ira/)e;^€i/)

9. inferiorem: Newton, loc. cit., for the pedimental sculptures and for —
rightly points out that, according to the akroteria or angle figures of one of
ordinary rules, the word to be supplied the gables {wrepov aurSv'). From the
would he pyramidem, which, however, relation of the akroterial figures of
he considered inadmissible, as he the west front (Centr.Mus. Catal.
found no evidence for a pyramidal '55~I57) to one another and to the
substructure. On the other hand, figures of the Amazon battle from the
Detlefsen's altitudine[m] does un- corresponding west pediment, there
warranted violence to the text. is every ground for regarding them as
10. quadrigamarmorea: arestora- the work of one artist, i. e. of
tion of the extant fragments may now Timotheos; Amelung, ^a«'.f(/«/Vft;cj-
be seen in the Mausoleion room of teles, p. 69 f., where the kinship of
the Brit. Mus. That the so-called the group of Leda and the Swan (best-
' Artemisia ' and '
Mausolos ' can, known replica in the Capitol Helbig, ;

however, never have been placed in 469) to the Epidaurian sculptures is

 SCULPTURE IN MARBLE 203

shorter, and the whole perimeter is 440 feet; its height is

25 cubits [371^ feet], and it has thirty-six columns. This colon-

nade is called a nrfpov. The sculptures of the eastern front are 31
carved by Skopas, those on the north by Bryaxis, on the south by
Timotheos, and on the west by Leochares. The queen died
before the work was finished, but the artists carried it through to
the end, deeming that it would be an abiding monument of their

own and of the glory of art, and to this day they compete
glory
for the prize. A fifth sculptor also worked on the monument.
Above the colonnade is a pyramid, of the same height as the
lower structure, consisting of twenty-four retreating steps rising
into a cone. On the apex stands a chariot and four horses in
marble made by Pythis. Including this the height is 140
feet.

In the temple of Apollo on the Palatine at Rome stands an 32

Artemis by Timotheos, the head of which has been restored by
Avianius Evander. Greatly admired is a Herakles by \Menestratos,
and a Hekate at Ephesos in the temple of Artemis, behind the

pointed out (the likeness noted for all the world understands the
simultaneously by Winter, Ath. Mitth. greatness of the drunken old woman
xix, 1894, p. 157 ff.). Add. by Myron — this last work being
1 3. Avianius Evander : cf. Hor. abruptly introduced by a nam, which
Sat. i, 3, 90 :— implies an ellipse of the preceding
Comminxit lectum potus mensave sentence, according to a usage noted
catillum in xxxiv, 7, xxxv, 137. H. L. U.]
Evandri manibus tritum deiecit Menestrati : possibly identical
where the scholiast Porphyrio remarks with the sculptor of a statue of the
that Evander was both chaser and unknown poetess Learchis ; Tatian,
sculptor i^plastes statuaruni), that ir/)^j ''EKK. p. 34, ed. Schwartz.
Alexander brought him from Athens 15. Hecate Ephesi : the informa-
to Alexandria, whence he was taken tion, like thaton the Mausoleion, ap-
to Rome inter capiivos, doubtless pears derived from Mucianus {Introd.
on the capture of the city by Augustus p. Ixxxviii).
in 25 B.C. ; cf. further Cic. Fam. xiii, post aedem : interpreted by Sillig
2 ; 21 ; 2 7, and vii, 2 3, where Avianius {Diet, of Artists, s. v. Menestratos)
figures rather as art- dealer than as as 'the back part of the temple,'
artist ; cf. Brann, K. G. i, p. 547. i.e. the 6nia96So;.ios. But it is doubt-
14. in magna admirations ful whether /oi/ can be susceptible of
these words introduce the fifth such a meaning. It therefore seems
parenthetical mention of works else- more reasonable to suppose that the
where than in Rome. [The constmc- Hekate of M. was contained in a
tion of the passage down to incluta is separate shrine, within the precinct
curious we get ; (i) admirable works {in templo), but behind the great
(in magna adm.) ;
(ii) works equally temple That the Hekate
(^post aedem).

admirable {non postferuntur) ;

(iii) a was in a closed locality, and not merely
work of which nothing need be said, outside the temple in the open air, as
 204 C. PLINII SECUNDI NAT. HIST. XXXVI
contemplatione admonent aeditui parcere oculis, tanta
marmoris radiatio est. non postferuntur et Charites in
propylo Atheniensium quas Socrates fecit alius ille quam
pictor, idem ut aliqui putant. nam Myronis illius qui in
aeie laudatur anus ebria est Zmyrnae in primis incluta. 5

33 Pollio Asinius, ut fuit acris vehementiae, sic quoque spectari

monumenta sua voluit. in his sunt Centauri Nymphas
gerentes Arcesilae, Thespiades Cleomenis, Oceanus et lup-
piter Heniochi, Appiades Stephani, Hermerotes Taurisci,
34 non caelatoris illius sed Tralliani, luppiter hospitalis Papyli 10
Praxitelis discipuli, Zethus et Amphion ac Dirce et taurus

9. Heniochi] Jan ; eniochi Bamb. ; enthochi Riccard., Voss, ; Antiochi

Urlichs in Chrest, Detlefsen.

some authorities suppose, is evident p. 181 ff., Furtwangler). They are all
from the story marmoris
of the after an original of the period ab. B. c.
radiatio ; the mysterious gleam of the 470; cf. Furtwangler, Masterpieces,
marble can only be understood if the p. 23, note I, Introd. p. 1, note 2.
statue was seen in the half-light of a in propylo Athen. . Pans. 1, 22,
shrine, and becomes nonsense if the 8 : /card 66 Ti\v etroSov ai/T^v ijS^

Hekate was out of doors. rfjv ey djcp6iro\iv 'EppLTJv, hv XlpovvXuLOV

I. aeditui : the fact that the dvopi&^ovffL Kal XapiTas ^oJlcpaTijy
statue was shown by temple attendants TTOiijffat T^v ^OKppoviaKov \eyovat ; cf.

is another argument in favour of its note on xxxv, loi for the unusual form
being in a closed locality. propylon, and Introd. p. 1.
i. marmoris radiatio : the face 3. Socrates fecit it : is curious
of the statue, like the hands and feet, to note that Pliny knows nothing of the
would be left in the original colour popular identification of the sculptor
of the marble, or just toned by wax Sokrates with the philosopher,
(see in xxxv, 133 note on circumli- accepted by Pausanias, loc. cit., and
tioni) ; the white face would be seen a number of other authorities (Overb.
gleaming through the dusk of the S. Q. 907-914), Introd. loc. cit.

shrine — the imagination being doubt- alius . . . idem ; contains the

less stimulated by a sense of the trace of a similar controversy to that
mysterious personality of Hekate. noted in the case of Pythagoras,
M. S. Reinach kindly points out to xxxiv, 60 ; Intiod. p. 1.

me that we seem to detect in the 4. Myronis illius : xxxiv, 49

legend traces of the old belief that 67-S9-
mortals might not look in the face of 5. anus ebria : the identification
the gods without being struck blind of the work well-known with the
cf. Teiresias and the mysterious statue of an old an ivy-woman nursing
Epizelos of Herodotos. crowned wine-jar (Helbig, Class. Ant.
Charites : the type is known from 431) p. 318, where see list of replicas
two reliefs in Rome (most famous and literature) is nothing less than
in the Vatican, H elbig, 83) and three certain. Nor do the grounds for
in Athens, two of which were found on attributing the work, on account of
the Akropolis {Ath. Mitth. iii, 1878, the subject, to a later Myron seem
 SCULPTURE IN MARBLE 205

shrine, in looking at which the temple guardians advise visitors

to be cautious, so dazzling is the lustre of the marble. Not
inferior are the Charites in the gateway at Athens ; the Sokrates
who made them is to be distinguished from the painter, though
some believe in their identity. As to Myron, the celebrated Myron.
bronze caster, his statue at Smyrna of an intoxicated old woman
ranks among the most famous works.
Asinius Pollio with his characteristic enterprise was eager that his 33
galleries should attract attention. They contain Kentaurs with Galkiy of
nymphs on their backs by ^Arkesilas, Thespiades by Kleomenes, PolHo.
figures of Okeanos and Zeus by '\Heniochos, nymphs of the Appia

by Stephanos, terminal busts of Eros by Tauriskos (not the famous

chaser, but Tauriskos of Tralles), a Zeus of strangers by iPapylos 34
the pupil of Praxiteles, and Zethos and Amphion, with Dirke, the

reasonable. The figures from the angle Appiades : so called doubtless

of the west pediment of the temple at from their resemblance to the statues
Olympia show that the presentation of the nymphs of the Appian
of aged women was not alien to the art aqueduct which adorned a fountain
of the early fifth century. The epithet of the Forum Julinm ; cf. Ovid, Ars
ebria, like the temulenta applied to Amat. i, 79 ; iii, 45 1 ; cf. Rem. Atnor.
the flute-player of Lysippos in xxxiv, 660 Gilbert, Rom, iii, p. 226, note i.
;

63, perhaps on some slight

rests Stephani probal)ly identical with
:

misapprehension of the motive, or the pupil of Pasiteles, whose in-

mistranslation from the Greek. scription is read on the statue of an
§ 33. 7. monvunenta : above, note athlete in the Villa Albani, /. G. B.
on § 23. 574; cf. ib. 375, where he is named as
Centauri liTymph. gerentea the master of Menelaos, the artist of
for the subject cf. the wall-painting, the famous group in the Museo
Helbig, Wandgem. 499; cf. also the Boncompagni (Helbig, 887).
Kentaurs (bearing Erotes) of Aristeas Hermerotes : terminal busts of
and Papias (Capitol, Helbig, 512,513). Eros ; for extant instances in statuary

8. Arcesilae:xxxv, 155; below, §41. see Furtwangler, Masterpieces, p. 69

Thespiades : same subject by (Eros), p. 60 (Athena), p. 234 ff.

Teisikrales, xxxiv, 66; by Praxiteles, (Herakles\ The old interpretation

below, § 39. that the several divinities were com-
Cleomenls : his identity with bined with Hermes in a double ter-

or relationship to —the sculptor of the minal bust is without support from the
so-called '
Germanicus ' in the Louvre monuments, though favoured by it is

(/. G. B. 344), or of the altar with Cicero, Att. quod ad me de

i, iv. 3 :

sacrifice of Iphigeneia in Florence Hermathena scribis, per mihi gratum

(/. G. B. 380), is quite uncertain. est : est ornamentum Academiae pro-

(/. G. B. 573, from Medicean Venus, prium meae, quod et Hermes commune
is a modern forgery.) omnium et Minerva singulare est eius
9. Henioohi [von : Jan's reading gymnasii. Add.
may be considered certain, the names 10. caelatoris : xxxiii, 156.

Arcesilae Taurisci being in

. . . § 34. hospitalis = f cVios.
alphabetical order. —H. L. U.]. 11. Zethus . . . taurus : a group
 ao6 C. PLINII SECUNDI NAT. HIST. XXXVI
vinculumque ex eodem lapide, a Rhodo advecta opera
Apolloni et Taurisci. parentum hi certamen de se fecere,
Menecraten videri professi, sed esse naturalem Artemidorum.
eodem loco Liber pater Eutychidis laudatur, ad Octaviae
vero porticum Apollo Philisci Rhodi in delubro suo, item 5

Latona et Diana et Musae novem et alter Apollo nudus.

35 eum eodem templo tenet Timarchides fecit,
qui citharam in
intra Octaviae vero porticus aedem lunonis ipsam deam
Dionysius et Polycles, aliam Venerem eodem loco Philiscus,
cetera signa Pasiteles. idem Polycles et Dionysius Timar- 10

9. Polycles aliam, Venerem DetUfsen.

('Toro Famese,' Naples, Friederichs- lb. 760 :

Wolters, 1402), which is generally E's Si<j>pos, apfi, i\arrjp, 'i-rnroi, ^vyds,

accepted as the identical one men- •fjviaj vUtj.

tioned by Pliny, was discovered in Ehodo much : light has recently
1546 in the Thermae of Caracalla. been thrown on the dates of the
I. ex eodeiu lapide cf. below, ; Rhodian school by two papers of
§ 36 § 37
; § 41 the Bull and
; ;
'
' Maurice Holleaux (J?ez/. de Phil.
the 'Laokoon' are however constructed xvii, 1893, pp. 171-185), and H. von

of several pieces, and the same was Gaertringen {Jahrb. ix, 1894, pp. 23-
most likely the case with the 'Lioness' 43). According to the latter, the
of Arkesilaos, and the chariot-group of inscriptions fall into two periods : (i)

Lysias. With regard to the '

Laokoon from close of third century to B. c.
and the Lioness Robert, Arch.
'
' 163 (Pydna) (ii) from B. c. 88,
;
at
March, p. 143, note, had suggested the close of the Mithridatic war, to
that ex uno lapide meant a group the total reduction of the Rhodian
disposed on one basis, in opposition state by Cassius Longinus and Cassins
to groups composed of statues set of Parma in B. c. 43 (Appian, 'E/i(^.

each upon a separate basis. But the iv,60-74; V, 2). It was then that
grammatical propriety of this interpre- many a Rhodian work of art was taken
tation is doubtful, cf. Urlichs, to Rome.
Arkesilaos, p. 16, note 2. FoBster 2. ApolloBi et Taurisci a :

{Gbrlitz. Verhandl. p. 298) believes basis found in the theatre of Magnesia

that Pliny in saying that the Bull and on the Maiander bears the inscription
the Laokoon were ex uno lapide had '
AlToXKiiVLOs Tavpifffcov [TpaKXtavbs]
been deceived by the appearance of iiToiu : it is published by H. v. Gaer-
the groups. As a fact, the expression tringen {Aihen. Mitth. xix, 1894,
seems, in all four cases, to imply little p. 37 ff.), who dates it from early
beyond the desire to heighten the Imperial times, so that the TavpiaKos
impression of technical difficulty, by of the inscription (though of course not
adding one of those details which the 'AtroKKdjvios) may be one of the
readily appeal to popular imagina- sculptors of the Bull, which would be
tion ;cf. Anth. ix, 759 (eis 6ip/ja executed previous to B. c. 43 (see pre-
XiiaiQV) :
— vious note). The names were probably
EFs Xi'flos, n/>/t', (\aTrip, i-rrwoi, (vyov, recurrent in a family of artists.
parentum hi certamen : the
 SCULPTURE IN MARBLE 207

bulland the cord, all carved out of one block. It is the joint
work of Apollonios and Tauriskos, and was brought from Rhodes.
These two sculptors occasioned a controversy as to their
parentage, by declaring that Menekrates was their nominal,
Artemidoros their real father. In the same collection is a fine
Dionysos by Eutychides. Near the gallery of Octavia in the Other
temple of Apollo stands a statue of the god by Philiskos o^ galleries
Rhodes, together with Leto, Artemis, and the nine Muses and
another nude Apollo. Timarchides made the Apollo with the
cithara in the same temple, and Dionysios and Polykles the statue S5
of Juno within her temple in the portico of Octavia. A second
Aphrodite in the same place is by Philiskos, and the other statues
by Pasiteles. The same Polykles and Dionysios, the sons of

words are rhetorical, or rest on a § 35. 7. Timarchides : son of

Roman misunderstanding of the Greek Polykles of Athens, xxxiv, 52, and
inscription.According to a custom of brother of Timokles, ib. ; his two sons,
which the Rhodian inscriptions afford Polykles II and Dionysios, are men-
numerous instances (cf. inter alia, tioned below together with his brother
;

I. G. B. 174, 181), the artists had (oi no\u«A6ovs TrarScy) he made for
added to their signature not only the Olympia the statue of the pugilist
name of their real father, but that Agesarchos of Triteia, and for Elateia
of their father by adoption. H. v. G. statues of Asklepios and of Athena
suggests the following restoration : (Pans. vi. 1 2, 9 ; x, 34, 6 ; 8).

'AtroW^vtos KalTavpiffKOs'ApTffttSupov, 8. aedem lunonis : erected to-

«a0' voBeaiay Se MeveKparcos, TpaK- gether with the adjacent temple
Xiayol ewo'iT](rav. {proxima aedes) of Jupiter by Q.
4. Eutyohidis : probably not the Caecilius Metellus after his triumph
pupil of Lysippos (xxxiv, 78), who of B. c. 149; Veil. Paterc. i, n.
was a bronze statuary ; the name was ipsam deam: the temple statue;
common see Loewy in /. G. B. 143.
;
cf. Neptunus ipse, above, § 26 ; simu-
5. in delubro suo i. e.the temple
: lacrum ipsum Trophonii, xxxiv,
of Apollo Sosianius; notes on xxxv, 66.

99, above, § 28. 9. Dionysius et Polycles : iden-

6. Musae novem Amelung {Basis
: tical with the Polycles et Dionysius
des p. 44 f. and Ap-
Praxiteles, TimarcMdis filii, below.
pend.) shows that this is probably aliam Venerem: Urlichs {Quel-
the group which inspired the artists lenreg. p. 8) has shown that these
of the Muses on the basis from words refer back to § 15, where an
Halikamassos (Trendelenburg, Der Aphrodite by Pheidias, in the. porticus
Musen Chor, Winckelmannspr. xxxvi, Oct., had already been mentioned.

1876) and of the Muses on the relief 10. Pasiteles : note on § 39.
of the Apotheosis of Homer (Brunn- Dionysius together with his
:

Bruckmann, plate 50), both in the nephew Timarchides II, he made the
Brit. Mus. It is significant that both statue of C. Ofellius, found in Delos
works are fiom Southern Asia-Minor, it bears the inscription Aioi/iiffios

i. e. from the neighbourhood of Ttf.Lapxi^ov leal TipapxiSTjs Tlo\vi{\eovs

Rhodes. *A8r]vatoi, 1. G. B, 242.
 2o8 C. PLINII SECUNDI NAT. HIST. XXXVI
chidis fill lovem qui est in proxima aede fecerunt, Pana et
Olympum luctantes eodem loco Heliodoius, quod est
alterum in terris symplegma nobile, Venerem lavantem se
36 *sedaedalsas* stantem Polycharmus. ex honore apparet
in magna auctoritate habitum Lysiae opus, quod in Palatio 5

super arcum divus Augustus honor! Octavi patris sui dicavit

in aedicula columnis adornata, id est quadriga currusque et
Apollo ac Diana ex uno lapide. in hortis Servilianis reperio
laudatos Calamidis Apollinem illius caelatoris, Dercylidis
pyctas, Amphistrati Callisthenen historiarum scriptorem. lo

37 nee deinde multo plurium fama est, quorundam claritati in

operibus eximiis obstante numero artificum, quoniam nee
unus oceupat gloriam nee plures pariter nuneupari possunt,
sicut in Laoeoonte, qui est in Titi imperatoris domo, opus
omnibus et picturae et statuariae artis praeferendum. ex 15

uno lapide eum ac liberos draconumque mirabiles nexus de

consili sententia fecere summi artifices Hagesander et Poly-

4. Sesedaedalsas stantem Bamb. ; sesededalsa stantem Rice, Voss. ; se sad et

aliam stantem Sillig; sese Daedalus, aliam stantem Detlefsen.

I. lovem; above, note on aedem § 36. 6. super arcum: the arch was
lunonis. part of the Propylaea which formed
Pana et Olympum : the names the entrance to the area of Apollo,
are significant as showing that these Gardthausen Augustus I, p. 962 ; ib.

avfnr\cyfiaTa were mostly erotic //, p. 575.

groups, composed perhaps in the Ootavii patris Suet. Aug.: 3.

scheme familiar from the groups in 8. ex uno lapide note on :

§ 34.
Dresden. hortis Servilianis above, : § 23.
Heliodorus : xxxiv, 91 ; the sig- 9. illius caelatoris : xxxiii, 155 ;

..^ nature of his son (n\ovTapxos xxxiv, 47 ; he is presumably identical

'KKtoSiipov 'F6S10S iiToirjai) closes the with the bronze statuary, xxxiv, 71.
great inscription, discovered in Rhodes 10. Amphistrati : known also
by Hiller v. Gaertringen, which since from Tatian {irphs 'EWriv. p. 34, ed.
it contains the names of L. Murena Schwartz) as sculptor of the portrait
and L. Lucullus has been dated by of an unknown poetess Kleito.
Mommsen at B.C. 82-74 (Ja&rb. ix, Callisthenem of Olynthos, pupil
:

1894, p. 25 ff. cf. also Maurice

; and nephew of Aristotle according ;

Holleaux, Rev. de Philol. xvii, 1893, to Diodoros, xiv, 117, his 'Hellenika'
p. 173; and/. G. B. 194-196). were a history of the years B.C.
3.alterum: harks back to thesimi- 387-357 (Peace of Antalkidas to the
lar group by Kephisodotos in § 24. Phokaian war).
' Venerem lavantem se : the § 37. 14. in Laoeoonte the origi- :

'
Venus Accroupie' in the Louvre nal group was found on Jan. 14, 1506,
(Friederichs-Wolters 1467) is looked near the Baths of Titus, whither it may
upon as a copy of this work, but have been mo-ved from his Palace at
see Add. a date posterior to Pliny (on the cir-
 A. THE FAMILY OF POLTKLES.
[Stadiens of Athens]
Pays, vi, 4, s.

POLYKLES I OF ATHENS ( Plin. xxxiv, 52.

Jl. about 156 B. c. \ Pans, vi, 4, s.

I
[l.G. InsulX 855?
I

TiMOKLES ( Plin. xxxiv, 52. TiMARCHIDES I Plin. XXXIV, 91 ?

Jl. ab. \ Pans, vi, 12, 9. fl. after 140 B.C. [
„ xxxvi, 35.
156 B.C. I „ X, 34, 6; 8. Pans, vi, 12, 9.
{ „ x,34,6;8.
l/.G.B. 328? cf.
M//(. Af?Vrt. XX,
1891;, p. 219.

POT-YKLES II {Plin. xxxvi, 35) DiONYSIOS OF ATHF.NS

after 140 B. c. 140-90 B. C. {Plin.
XXXV, 35, and /. G.B.
242),

TiMARCHIDES II {vfi/Tcpos'j
OF Athens (Oopi'mos)
/. G. B. 242 and the inscr.
Allien. Mitth. xx, 1895,
p. 216.

B. THE FAMILY OF ATHANODOROS.

Atiia.nouorij'; I Paton iii'.cr.
(

HAfiK'^'VNDROs T Paton iiisoi'. I.indian decree, &i

HAnEKANDROS IT* 1*117. VIJUBllS* AriTANODOROS II*

(adopted by Dloiiy^ii
Lindian inacr.)

* The sculptors of the Laokoon

[To face p. 208.]

 SCULPTURE IN MARBLE 209

Timarchides,made the Zeus in the adjoining temple, where are

also thePan and Olympos interlaced by Heliodoros, second in
renown among such groups in all the world, an Aphrodite bathing
standing by '^ Poly charmos. The 36
on the work of Lysias shows how highly it
distinction conferred
was esteemed, inasmuch as the god Augustus dedicated it in
honour of his father Octaviusj it was placed within a small
building adorned with columns upon the arch on the Palatine.
It consisted of a team of four horses, a chariot, Apollo and
Artemis, all carved out of one block of marble. I find that in
the gardens of Servilius are an Apollo by Kalamis, the well-known
silver chaser, boxers by \Derkylidas, and a portrait of Kallisthenes
the historian by Amphistratos, all of which are mentioned with
praise.
Not many celebrated artists remain to be named ; in the case 37
Collabo-
of certain masterpieces the very number of the collaborators is an
ration of
obstacle to their individual fame, since neither can one man take different
to himself the whole glory, nor have a number so great a claim J"^"^'""-

to honour. This is the case with the Laokoon in the palace of

the Emperor work superior to all the pictures and bronzes
Titus, a
of the world. Out of one block of marble did the illustrious
artists Hagesander, Polydoros, and Athanodoros of Rhodes, after

taking counsel together, carve Laokoon, his children, and the

cumstances of the find see Michaelis, 16. de oonsili sententia: that

Jahrb. v, 1890, p. 16); it is now in these words mean neither ' by decree of
the Vatican (Helbig, 153). The full the Emperor's Privy Council' (Lach-
literature from 1755 to 1879 is given mann, A. Z. 1848, p. 2i6 = Kleme
by Bliimner, Comm. to Lessing's Schriften, p. 273), nor '
by decree of
Laokoon, 2nd ed. p. 722 ; cf. also the Council of Rhodes,' nor yet
Friederichs-Wolters, 1422, and the ' after consultation of the artists with
three papers by Ftirster, (l) in Gor- their friends' (Mommsen, /r«?-»««x,xx,
litz.Verhandlungen, pp. 75-94, and 1885, p. 268), but are to be under-
293 to 307 (2) Jahrb. vi, 1891, p.
;
stood in the simple sense given to
i?7ff-; (S)/'^'^^^- ix, 1894, p. 43ff. them above, has been brilliantly
in Titi imp. doiuo ; xxxiv, 55. proved by Forster in Gorlitz. Ver-
15. statuariae : note on xxxiv, 54 handl. pp. 75 ff. ; for the usage, cf.
{toreuticen). Cicero Fisr«j, 11, iii, 1 8 ; v,i2,53,54,
ex uno lapide note above on: 114; /ro ^a/^;;, 11, 19, 38, and often;
§34: Michelangelo Buonarotti and Caesar, ^. C.iii, 16 ; Livy, xlv, 26 and
Giovanni Cristofano, ' che sono i primi 29 ; Plin. Ep. v, i, 6 ; 3, 8 ; vi. 31, 12.

scultori di Roma, negano ch'ella sia 17. Hag. et Pol. et Ath. Bhodi:
d'un sol marmo, e mostrano circa the name of Athanodoros occurs on
a quattro commettiture '
; Trivulzio, seven inscriptions published in fac-
quoted by Michaelis, loc. cit. note 49, simile by Forster, Jahrb, vi, 1891, pp.
 3IO C. PLINII SECUNDI NAT. HIST. XXXVl

38 dorus et Athenodorus Rhodi. similiter Palatinas domos

Caesarum replevere probatissimis signis Craterus cum Py-
thodoro, Polydeuces cum Hermolao, Pythodorus alius cum
Artemone, et singularis Aphrodisius Trallianus. Agrippae
Pantheum decoravit Diogenes Atheniensis, in columnis 5

templi eius Caryatides probantur inter pauca operum, sicut

in fastigio posita signa sed propter altitudinem loci minus
39 celebrata. inhonorus est nee in templo ullo Hercules ad
quem Poeni omnibus annis humana sacrificaverant victima,
humi stans ante aditum porticus ad nationes. sitae fuere 10

et Thespiades ad aedem Felicitatis, quarum unam amavit

eques Romanus Junius Pisciculus, ut tradit Varro admirator ;

12. admirator] Bainb.; admiisdui religui, Detlefsen.

1 91-195. Ofthese,theLindian decree contention is quaintly confirmed,

in honour of Athanodoros, son of since not a single one of these artists
Hagesander, has been lately fully is known outside his text (see however
published by H. t. Gaertringen 7. G. B. 427).
{Jahrb. ix, 1894, p. 34), and shown to 4. Agrippae Fantheum : xxxiv,
be not earlier, but possibly somewhat 13-
later, than the Ploutarchos-Helio- 5. Diogenes: identity with the
doros inscription 82-74) men- (b. C. Diogenes of the inscription found at
tioned above. With the help of lines Nineveh (Brit. Mus., I. G. B. .,61 ;

16, 17 of the inscription published A. S. Murray iny. H. S. iii, p. 240 ff.)

by Paton, B. C. H. xiv, p. 278, is possible, but doubtful.

['A7^{r]avS/)os *
AyTjffdvSpov [toO] in columnis . . . Caryatides : the
'A9ai'oS[c&]po[u], H. von Gaertringen late discoveries in connexion with
(0/. cit.) reconstructs the annexed the Pantheon have, unfortunately,
table. The Hagesander who worked thrown no light on the architectural
on the Laokoon would more probably function performed by these Carya-
be the elder brother than the father of tides. Stark, Arch. Zeit. xviii, 1866,
the other two sculptors. The present p. 249 f., supposes in col. to mean
writer can see nothing in the technique down among the columns as opposed
or style of the Laokoon to prevent our to the statues in fastigio; in this case
accepting for the date suggested by
it the Kar. would be not architectonic,
the inscriptions. Helbig however but dancing figures like the Karyatides
has again quite lately {Class. Ant., loc. of Praxiteles ; above, § 23. Addenda.
cit.) maintained that the Laokoon § 39. 8. inhonorus est : rhe-
belongs to the period previous to the torical indignation ; cf. in xxxiv, 89,
Pergamene altar, and that the Athano- the passage on the Bull of Phalaris.
doros inscriptions belonged to copies Herculesa Phoenician or Tyrian
:

of his works. Melkart,presumably brought from

§ 38. 2. replevere; rhetorical, cf. Carthage by the yoimger Scipio B. C.
refertae in § 14 ; imflent, xxxv, 148, 146 (cf. Peter, ap. Roscher, i, 246 ;

&c. Urlichs, Griech. Statuen im Rep.

Craterus . . . Aphrodisius : Pliny's Rom, p. 13).
 SCULPTURE IN MARBLE
wondrous coils of the snakes. So, too, on the Palatine, \Krateros 38
and his colleague \Pythodoros, \Polydeukes and \Hermolaos, a
second iPythodoros and \Ariemon, and ^Apkrodisios of Tralles,
who worked alone, have filled the mansions of the Caesars with
excellent statues. The sculptures of the Pantheura of Agrippa are Pantheon.
by \ Diogenes of Athens ; the Karyatides of the temple columns
are in the very first rank, and so are the statues of the pediment,
though less well known because of the
great height at which they
stand. Dishonoured and without a shrine is the Hercules to 39
whom the Carthaginians offered annual human sacrifice; it
stands on the ground in front of the entrance to the Gallery
of the Nations. By the temple of Felicity stood also the
Thespiades, of one of which, according to Varro, a Roman knight,
Junius Pisciculus, was enamoured. Varro likewise admires

10. humi stans : i. e. the statue group of the Muses found at Tivoli,
was without pedestal or basis. now in the Vatican (Helbig, 268-274),
port, ad nationes Serv. on : may be looked upon as copies their ;

Aen. 8, forticum Augustus

721: Praxitelean character has been search-
fecerat in qua simulacra omnium ingly analysed by Amelung, Basis
gentium collocaverat, quae porticus des Prax. aus Mantinea, 1895, pp.
adpellabatur ad nationes ; it must not 2.'5-49-

be confused with Pompeius' porticus aedem Pelioitatis xxxiv, 69 :

of the fourteen nations, below, § 41. built by L. Lucullus to commemorate

11. Thespiades: Cic. Verr.\l,vf, his Spanish campaigns of B.C. 150-
4 atque ille L. Mummius, cum, 7'hes-
: 151 (Urlichs, Arkesilaos, p. 7), ded.
piadas, quae ad aedem Feliciiatis sunt, 142 B. c, Dio Cass. fr. 75. On the
ceteraque profana ex illo opfido \Thes- temple-statue, see xxxv, 156.
piis~\ signa tolleret,hunc Cupidinem . . . 12. ut tradit Varro: V. is evi-
(above, §22)... non attigit. The dently the authority for the whole
statues must have been among those passage from sitae fuere . . . auctorest
which L. LucuUus borrowed from in § 41. His name is brought in at
Mummius, to adorn the temple up to this point because Pliny looks upon
the day of his election, and cleverly the story of Pisciculus as of doubtful
managed not to return (Strabo, viii, authenticity, and therefore lays all

p. 381; cf. Dio Cassius, fr. 75). From responsibility upon his author.
Varro {Ling. Lat. vi, 2) we learn that admirator et Pasitelis : the
the Thespiades = Musae. It is usually reading proved by the context
is

assumed that the Thespiades are iden- Arcesilaum quoque magn. Varro in
tical with the signa quae ante aedem § 41, where the quoque has no sense
Pel. fuere, by Praxiteles, cf. xxxiv, 69, unless Varro's admiration of some
where see note but the fact that the
; other artist had been previously re-
latter were of bronze sufficiently dis- corded ; Furtwangler, Plinius, p. 41
poses of the identification. The pro- cf. the citations from Varro in xxxv,

venance, however, of the Thespiades, 155-157 : Varro tradit sibi cognitum

their celebrity, the and the
subject Possim , . .idcTn magn. Arcesil . . .

story of Pisciculus, show them to have laudat et Pasitelen. On Pasiteles, see

been Praxitelean works. The famous Introd. p. Ixxvii.

P
 212 C. PLINJI SECUNDI NAT. HIST. XXXVI
et Pasitelis, qui et quinque volumina scripsit nobilium
40 operum in toto orbe. natus hie in Graeca Italiae ora et
civitate Romana donatus cum his oppidis lovem fecit ebo-
reum in Metelli aede qua campus petitur. accidit ei, cum
in navalibus ubi ferae Africanae erant per caveam intuens 5

leonem caelaret, ut ex alia cavea panthera erumperet non

levi periculo diligentissimi artificis. fecisse opera complura
41 dicitur, quae fecerit nominatim non refertur. Arcesilaum
quoque magnificat Varro, cuius se marmoream habuisse
leaenam aligerosque ludentis cum ea Cupidines, quorum 10

alii religatam tenerent, alii cornu cogerent bibere, alii calci-

arent soccis, omnes ex uno lapide. idem et a Coponio

quattuordecim nationes quae sunt circa Pompeium factas
auctor est. invenio et Canachum laudatum inter statuaries
42 fecisse marmorea. nee Sauram atque Batrachum obliterari 15

convenit qui fecere templa Octaviae porticibus inclusa na-

tione ipsi Lacones. quidam et opibus praepotentes fuisse
eos putant ac sua inpensa construxisse inscriptionem spe-
rantes, qua negata hoc tamen alio modo usurpasse. sunt
I. fraxiteles 5o»z^. ;
passitelis re/2y«j ; VasiXAes, Detkfsen.

I. nobilium operum: the Greek 9. se habuisse: xxxiii, 154,

. . .

title would be Tufl kvSS^av tpyaiv. where Varro is likewise cited as owner
§ 40. 3. civitate . . . oppidis and authority. His works of art were
during the social war of B.C. 90-89, scattered in the proscriptions of B. c.
when by the Leges lulia and Plautia 43. Introd. p. Ixxxiv.
Papiria the right of citizenship was marmoream . . . leaenam : the
extended to all the cities of Italy. subject recalls the beautiful relief in
4. in Metelli aede: i.e. the tern- Vienna of a lioness (Schreiber, .ff«//.
pie of Jupiter mentioned above, § 35. Rel., pi. i), which,
com- with its
qua campus : sc. Martius, there- panion (sheep suckling a lamb), can
fore the temple was on the north side help us to recover the style of sculp-
oi the porticus Octaviae. tnresofanimals executed by Arkesilaos
5. navalibus ; the naval docks and Pasiteles, Wickhoff, Wiener
of the Campus Martius, on the Tiber, Genesis, p. 26.
over against Vas. prata Quinctia; cf. 13. quattuordecim nationes: to
Liv. iii, 26, 8, and xlv, 42, sub fin. ;
correspond to the number of nations
Gilbert, Rom, pp. 146-150. The event subjugated by Pompeius (Plut. Pomp.
referred to may have happened in B.C. xlv ; cf. Veil, ii, 40 ; Plin. vii, 98
*
65> w'lien wild beasts were brought mentions only thirteen nations; the
from Africa for the games of Pom- fourteenth statue was apparently added
peius ; Plin. viii, 53, 64. to commemoratethe triumph over the
8. non refertur: i.e. by Varro. pirates, a mention of which closes
§ 41. Arcesilaum: xxxv, 155, the Act. Triumph, for the year 693
;

where see notes. Gilbert, Rom, p. 326, note 2). These

 SCULPTURE IN MARBLE 213

Pasiteles, the author of five books on the celebrated works of art Pasiieles.
in all the world. This artist was born on the Greek coast of 40
Italy, and received the Roman citizenship when it was given to
the cities of that district. He made the ivory statue of Jupiter
in the temple of Metellus on the way to the Field of Mars. It
happened that once at the docks where were the wild beasts from
Africa, as he was looking into a den to make a study of a lion on
a relief, a panther broke out of another cage, to the great peril of
the conscientious artist. His works are said to be numerous, but
they are nowhere mentioned by name. ^Arkesilaos also is highly 41
esteemed by Varro, who possessed a marble group by his hand ^''kesilaos.

of a lioness with winged Loves sporting about her some are ;

holding her by a cord, others are forcing her to drink out of

a horn, and others are putting shoes upon her ; the whole is carved
out of one block. Varro is again my authority for saying that
\Coponius made the fourteen statues of the nations which stand
round the theatre of Pompeius. I find too that Kanachos, famous
for his bronzes, worked also in marble, nor must I overlook
•\Sauras and \Bafrachos, Lakonians by birth, who built the temples 42
enclosed by the galleries of Octavia. Some say that they were •^''"'''^•f ''"'^

, L , , , , • ,
Batrachos.
rich men who built the temples at
,
their own cost, hoping that
their names would be inscribed upon them. Foiled in this, they
yet achieved their object in another way, so it is said, and it is

statnes are the earliest instances of for C. Tullius Vilnius (Fabretti, Inscr.
those personifications of conquered p. 187). By an extension of this
peoples so conspicuous in Roman custom, the architects S. and B. might
art. It is noteworthy that the artist carve a frog and a lizard in lieu of
was aRoman (Brunn, .ST. G. i, p. 602). signature among the ornaments of
These may be the statues concerning a column. The serious objection to
the placing of which Atticus advised the story is that Vitruvius (iii, i, 5)

Pompeius, Cic. Att. iv, 9. names Hermodoros of Salamis as the

circa Pompeium : Suet. Nero, architect of the temples. We must
46. therefore conclude either that the
Canaohum xxxiv, 50, 75.
14. ; story is aitiological — the ornaments
§ 42. 15. Sauram atque Batra- of the columns giving rise to a story
chum: names of animals were familiar to which the custom of allusive em-
in Greece as proper names (cf. TaSpos, blems noted above lent plausibility
SKVfivoi; TexTif, Mils, and the long or that S. and B. were architects-
lists in Fick, Gr. Personennamen, adjoint, or perhaps merely donors of

p. 314 ff.). Moreover, it was a usual the said columns, whom at a later
Roman custom to introduce — on grave- date legend turned into architects of
reliefs — some allusive emblem to the the temples.
name of the deceased : a boar for 1 8. insoriptionem sperantes :

Titus Statilius Aper (C /. L. vi, this portion of the anecdote is, in any

1975 ; Helbig, Class. Ant. 423); a calf case, apocryphal.

 214 C. PLINII SECUNDI NAT. HIST. XXXVI

certeetiamnum in columnarum spiris inscalptae nominum

43 eorum argumento lacerta atque rana. in lovis aede ex iis

pictura cultusque reliquus omnis femineis argumentis con-

stat, erat enim facta lunoni, sed, cum inferrentur signa,
permutasse geruli traduntur, et id religione custoditum s

velut ipsis diis sedem ita partitis. ergo et in lunonis aede

cultus est qui lovis esse debuit. sunt et in parvolis marmo-
reis famam consecuti Myrmecides, cuius quadrigam cum
agitatore operuit alis musca, et Callicrates, cuius formicarum
pedes atque alia membra pervidere non est. ro

44 Haec sint dicta de marmoris scalptoribus summaque

claritate artificum.

2. atque rana
lacerta cf. the : Schriftquell. 2194), or of Miletos
lizard and frog carved on the capital (Ailian, 7roi«. Xar. i, 17). He is gene-
of one of the colnmns of San Lorenzo rally represented as making the chariot
fnori le niura, transferred from some conjointly with K. Another marvel
ancient building. of their /uKpoTCx"'" was a grain of
§ 43. in lovis aede : above, §§ sesame engraved with an elegiac

35, 40 ; according to Veil. Paterc. distich (according to Plutarch, adv.

i, II, vifho states that the temple of Stoicos, xiv, 5, two lines of Homer).
Jupiter was the first in Rome to be There is no clue to the date of either
built of marble ; the temples being artist.

sine inscriptione, legend naturally quadrigam : in vii, 85 it is

soon became active on the subject. mentioned as of ivory, while Choiro-

7. parvolis marmoreis a con- : boskos (above) says iron and the ;

fusion of Pliny's, who in vii, 85, grammarian Theodosios [S. Q. 2201),

Mentions Myrm. and Kail, as virorkers bronze ; it looks suspiciously as if the

in ivory. quadriga were apocryphal. Yet the

8. Myrmecides : of Athens, ac- execution of a microscopic chariot was
cording to Choiroboskos (quoted by quite within the power of the ancient
Schol. to Dionysios Thrax = Overb. goldsmith, cf. the tiny chariot led by
 SCULPTURE IN MARBLE 215

undeniably true that a lizard and a

frog, typifying their names, are
still be seen carved on the bases of the columns. Of these 43
to
two temples the one dedicated to Jupiter contains only paintings
and decorations relating towomen^ for as a matter of fact it was
built for Juno ; but the porters made a mistake, it is said, when
they brought in the statues, and superstition consecrated the error,
as though shrines were due to the gods
this division of their

themselves. In the same way the temple of Juno has the orna-
ments appropriate to Jupiter.
Miniature works in marble likewise secured renown for Myrme- Miniature
hides, whose four-horse chariot and charioteer could be covered '^orks.

by the wings of a fly, and for Kallikrates, whose ants have feet

and limbs too small to be distinguished by the human eye.

This closes what I have to say of workers in marble and of the 44
most famous sculptors.

a Nike, with Erotes at each side, 9. Callierates of Lakedaimon

:

belonging to the ear-pendant, Ant. du (Ailian and Choiroboskos).

Bosphore Cimmirien, ed. Reinach, formioarum ; the fashioning of
pi. xii, 5, 5". Reinach (p. 4) justly ants and bees is attributed by Cicero
a confirmation of the praises
sees in it {Acad, prior, ii, 38, 120) to Myrme-
bestowed by the ancients on the tuKfo- kides —rightly, to judge from the
TV)(yia of Theodores, Myrmekides, man's name, which is doubtless a
and Kallikrates. Perhaps, therefore, nickname won for him by his skill,
we should look upon all these artists 10. pervidere non est; cf. Varro

as practising the art of goldsmiths {Ling. Lat. vii, i), who says of the
by the side of the greater art of sta- works of Myrmekides that they could
tuary in bronze or marble (see note only be properly seen when placed on
on xxxiv, 83). black silk.
,
APPENDIX.
 I.

Lib. VII.
125 Idem hie imperator edixit ne quis ipsum alius quam
Apelles pingeret, quam Pyrgoteles scalperet, quam Lysip-
pus ex acre duceret, quae artes pluribus inclaruere exemplis.
126 Aristidis Thebani pictoris unam tabulam centum talentis
rex Attalus licitus est, octoginta emit duas Caesar dictator, 5

Mediam et Aiacem Timomachi, templo Veneris Gene- in

tricis dicaturus. Candaules rex Bularchi picturam Magne-
tum exiti, baud mediocris spati, pari rependit auro. Rhodum

non incendit rex Demetrius expugnator cognominatus, ne

tabulam Protogenis cremaret a parte ea muri locatam. lo
127 Praxiteles marmore nobilitatus est Gnidiaque Venere prae-
cipue vesano amore cuiusdam iuvenis insigni, sed et Nico-
medis aestimatione regis grandi Gnidiorum aere alieno
permutare eam conati. Phidiae luppiter Olympius cotidie
testimonium perhibet, Mentori Capitolinus et Diana Ephesia, 15
quibus fuere consecrata artis eius vasa.

II.

198 Normam autem et libellam et tornum et clavem Theo-

dorus Samius (sc. invenit).

VII, 125. 2. Apelles : xxxv, 85 ;

of Corinth this sum was
offered by
ci.'H.OT:. Ep.W, i.,21^; Ediciovetuit, Attalos, orby Philopoimen
rather
ne quis se praeter Apellen Pingeret, \
on his behalf, for the Dionysos and'

aut alius Lysippo duceret aera Fortis \

Ariadne of Ariiteides ; npon which
'

Alexandri vultum simulantia . . . Mummins, staggered at the value set

Pyrgoteles xxxvii, 8. : npon the picture, retained it (xxxv, 24
Jjysippus : see note on xxxiv, and note).
63- 6, Mediazn et Aiacem Timom.
§ 126. 4. Aristidis Thebani : xxxv, 26 ; 136.
xxxv, 98. 7. Bularchi picturam : xxxv, 55
centum talentis : after the sack and note.
 I.

„
The ,
emperor Alexander also issued an edict that none but 125
Book VII.

Apelles might paint his portrait, none but Pyrgoteles engrave it,
and none but Lysippos cast his statue in bronze. Several famous
likenesses ofhim exist of these three kinds.
King Attalos bought a single picture by Aristeides of Thebes 126
for a hundred talents [^21,000 circ], and the dictator Caesar

gave eighty [;^i6,8oo circ] for two by Timomachos, a Medeia

and an Aias, which he intended to dedicate in the temple of
Venus the Mother. King Kandaules paid its weight in gold for
a picture of no small dimensions by Boularchos, representing the
destruction of the Magnetes. King Demetrios, surnamed the
Destroyer of Cities, refrained from setting fire to Rhodes, for fear
he should burn a painting by Protogenes which was near the
part of the city wall threatened. Praxiteles owes his fame to his 127
marble sculptures and to his Aphrodite at Knidos, which is best
known by the story of the youth who fell madly in love with it,
and also by the value King Nikomedes set on it when he offered
to take it in acquittal of the heavy state debt of the Knidians. Zeus
of Olympia daily bears testimony in honour of Pheidias, as for
Mentor do Jupiter of the Capitol and Artemis of Ephesos, to
whom the cups made by his hand have been consecrated.

I.

The rule and line, the lathe and lever, were invented by 198
Theodoros of Samos.

8. Bhodum non incendit 49, 54; xxxvi, 18.

XXXV, 104. 15. Oapitolinus Bphesia:
. . .

§127. II. marmore nobilitatus: xxxiii,154 and note,

xxxvi, 20; cf. xxxiv, 69 Prax. % 198. 17. Theodorus Samius
quoque marmore felicior. xxxiv, 83 and note.
14. luppiter Olympius : xxxiv,
 220 APPENDIX

III.

205 Picturam Aegypti etGraecia Euchir Daedali cognatus

in

ut Aristoteli placet, ut Theophrasto Polygnotus Atheniensis

{sc. condere instituerunt).

IV.
Lib. XVI. , ^ , , ,

213 Maxime aeternam putant hebenumcupressum cedrum- et

que, claro de omnibus materiis iudicio in templo Ephesiae 5

Dianae, utpote cum tota Asia exstruente CXX annis per-

actum sit. convenit tectum eius esse e cedrinis trabibus.
de simulacro ipso deae ambigitur. ceteri ex hebeno esse
tradunt, Mucianus ter cos. ex his qui proxime viso scrip-
sere vitigineum et numquam mutatum septies restitute 10
214 templo, banc materiam elegisse Endoeon, etiam nomen
nuncupans, quod equidem miror, cum antiquiorem
artificis

Minerva quoque, non modo Libero patre, vetustatem ei

tribuat.

V.
Lib. XXL
4. Arborum enim ramis coronari in sacris certaminibus 15
mos erat primum. postea variare coeptum mixtura versi-
color! florum, quae invicem odores coloresque accenderet,
Sicyone ingenio Pausiae pictoris atque Glycerae coronariae
dilectae admodum illi, cum opera eius pictura imitaretur,
ilia provocans variaret, essetque certamen artis ac naturae, 20
quales etiam nunc exstant artificis illius tabellae atque in
primis appellata stephaneplocos qua pinxit ipsam.
II. Endoeon] Sillig; eandem con codices.

§ 205. I. Aegypti: xxxv, 15. 2. Theophrasto: on the mis-

Euchir: in XXXV, 152 he figures as understanding involved here see
one of the Corinthian modellers Vfho Introd. p. xxx.
accompanied Damaratos to Italy; in XVI, 213. 5. templo Ephesiae:
Paus. Ti,4,4asthemasterof Klearchos below,xxxvi, 95.
of Rhegion, the master of Pythagoras. g. Mucianus: Introd. p. Ixxxv ff.

At seems probable that it is

least it 11. Endoeon : the name was re-
one and the same personage to whom stored by Sillig from Athenag. npe<r/3.
different parts are assigned in various 17 (below, App. xi) for the corrupt
apocryphal traditions concerning the eandem con of the MSS. Besides
beginnings of the several arts, cf. Ephesos, Endoios also worked in
"R-ohext Arch. March.'g. 131, note 2. Asia Minor at Eruthrai (Paus. vii.
For an artist of the name in late 5, 9) further, in one of his two in-
;

historic times see xxxiv, 91. scriptions (/. G. B. 8, stele of

 APPENDIX

III.

Painting was first invented by the Egyptians, and introduced 205

into Greece, according to Aristotle, by Eucheir, a kinsman of
Daidalos, but according to Theophrastos by Polygnotos of Athens.

IV.
Book XVI.
Ebony, cypress, and cedar wood are thought to be the most 213
durable, every wood having been signally tested in the temple of
Artemis at Ephesos, which all Asia joined to build, and which was
completed in a hundred and twenty years. While all agree that
the roof is made of cedar beams, we have varying accounts of the
image of the goddess. All other writers say that it is of ebony,
but among those who have written after close inspection, Mucianus,
who was thrice consul, declares that it is of vine-wood, and has
remained unchanged though the temple has been restored seven
times. The material, he says, was the choice of Endoios, the 214
maker, whose name he gives somewhat to my surprise, since he
holds the image to be not only earlier than the Dionysos, but
also than the Athene.

V.
BookXXI.
Branches of trees were originally used for crowns in the sacred *
games. Later on the fashion of intertwining flowers of different
hues, to strengthen each other's scent and colour, was invented
and introduced at Sikyon by the painter Pausias and Glykera,
a wreath-seller whom he loved. He imitated her wares in painting,
and she varied them to challenge him, thus making art and nature
vie together. Pictures by Pausias in this style are still extant, the
most noteworthy being the a-TE^aj/j/jrXoKor, or wreath-binder, a por-
trait of Glykera herself.

Lampito) he uses the Ionic dialect, latest discussion of Endoios and his
while in the other ('Apx. AeXr., 188S, date see Lechat in Rev. des Etudes
p. 208) he uses the Ionic alphabet. It Grecques, v, 1892, p. 385 ff. The most
is probable, therefore, that he was an famous work of Endoios was the
Ionian, whom the later art-historians seated Athena (below, App. xi Pans, ;

turned into an Athenian, as they did i, 26, 4) dedicated on the Athenian

Alkamenes and others (see Add. to Akropolis by one Kallias.
Introd. p. 232). From their epi- XXI, 4. 18. Pausiae Gly-. . .

graphy the inscriptions must he dated oerae : xxxv, 125 and note,
between B.C. 532 and 508 for the ;
 222 APPENDIX
Lib. VI.
XXXVI
90 Lemnius [sc. labyrinthus) similis illi columnis tantum
CL memorabilior fuit, quarum in officina turbines ita librati
pependerunt ut puero circumagente tornarentur. architecti
fecere Zmilis et Rhoecus et Theodorus indigenae.

VII.
95 Graecae magnificentiae vera admiratio exstat templum 5

Ephesiae Dianae CXX annis factum a tota Asia, in solo

id palustri fecere, ne terrae motus sentiret aut hiatus timeret,
rursus ne in lubrico atque instabili fundamenta tantae molis
locarentur, calcatis ea substravere carbonibus, dein velleribus
lanae. universe temple longitude est CCCCXXV pedum, 10

latitude CCXXV, columnae CXXVII a singulis regibus

factae LX pedum altitudine, ex is XXXVI caelatae, una
a Scopa. eperi praefuit Chersiphron architectus.

VIII.
177 Elide aedis est Minervae in qua frater Phidiae Panaenus
tectorium induxit lacte et croco subactum, ut ferunt, idee, 15

si teratur hodie in eo saliva pollice, oderem croci sapo-

remque reddit.

IX.
184 Pavimenta originem apud Graecos habent elaborata ante
picturae ratione donee lithestrota expulere earn, celeberri-
1 2. una a] Bamb. ; una Rice, Voss.

XXXVI, 90. I. Lemnius (lab.) almost as grave difficulties as that of

by error for the Samian labyrinth, the Mausoleion, but see the interesting
see note on xxxiv, 83. attempt lately made by A. S. Murray,
§ 95. 5. templum Ephesiae
Di- Journal of the R. Inst, of Brit.
auae the description seems borrowed
: Archit.,\%ijc„ p. 41 ff. The ancient
from Mucianns, Introd. p. Ixxxviii literature is fully given and discussed
cf. xvi, 313, but the account is very by Brunn, K. G. ii, p. 345 ff.

confused, referring partly to the first 8. ne in lubrico . . . lanae : this

temple (begun close of seventh century was done by the advice of Theodoros,
B.C.andburnt3S6B.c.byHerostratos, Diogenes Laertios, ii, 8, 103.
Strabo, xiv, p. 640) and partially to 10. universo templo ; i. e. mea-
the second, upon which Skopas would suring the length along the lowermost
be employed. The reconstruction of step of the platform, see A. S. Murray,
the Ephesian Artemision is beset with op. cit. p. 44.
 APPENDIX 223

"VI Book
XXXVI.
The labyrinth of Lemnos is like that of Krete, but is dis- oo
tinguished by its columns, a hundred and fifty in number. Their
drums were raised from the ground in the stone-yard and balanced
on a pivot, so that a boy could set them spinning round and
smooth their surface. The architects who built it were Smilis,
Rhoikos, and Theodoras, natives of the island.

VII.

Our genuine admiration for the magnificence of the Greek genius 05

is roused by the temple of Artemis at Ephesos, which was built in
a hundred and twenty years by the exertions of all Asia. The
temple was placed on a marshy site, that it might not suffer from
earthquakes, or be in danger from the cracking of the ground,
while on the other hand, to prevent any insecurity or shifting in the
foundation on which the massive weight of the temple was to
rest, a substratum was laid of pounded charcoal covered with
fleeces. The full length of the temple is 425 feet, and its breadth
225; there are 127 columns 60 feet high, each made by a
different king. Of these 36 are carved, one of them by Skopas.
The chief architect was Chersiphron.

VIII.

There is at Elis a temple of Athena in which we are told that 177

Panainos, the brother of Pheidias, mixed the plaster on the walls
with saffron and milk; hence to this very day if the finger is
wetted in the mouth and rubbed on the wall, it smells and tastes

of saffron.

IX.

The Greeks were the first to introduce paved floors, which they i84
decorated with painting until mosaic took its place. The most

12. una a Scopa: this is the read- § 177. 14. Elide: xxxv, 54, both

ing of Cod. Bamb. was kindly

; it Panainos and Kolotes had been em-
verified for this edition by Mr. Fischer. ployed on the statue of Athena, and
Chronologically it is quite possible it is evident from the present passage

that Skopas worked for the second that Panainos must have decorated
Ephesian temple, see note on xxxvi, 30. the temple with wall-paintings.

1 3. Cliersipliron the first architect

: § 184. 19. lithostrota the earliest ;

of the first temple, vii, 125. instance of a mosaic floor in Greece

 224 APPENDIX
mus hoc genere Sosus qui Pergami stravit quem
fuit in
vocant asaroton oecon, quoniam purgamenta cenae in pavi-
mentis quaeque everri solent velut relicta fecerat parvis
e tesselHs tinctisque in varies colores. mirabilis ibi columba
bibens et aquam umbra capitis infuscans. apricantur aliae 5

scabentes sese in canthari labro.

Lie. X.
XXXVII.
8 Polycratis gemma
quae demonstratur intacta inlibataque
est. multos post annos apparet scalpi
Ismeniae aetate
etiam smaragdos solitos. confirmat banc eandem opinionem
edictum Alexandri magni quo vetuit in hac gemma ab alio lo

se scalpi quam ab Pyrgotele non dubie clarissimo artis eius.

Post eum Apollonides et Cronius in gloria fuere quique
divi Augusti imaginem simillime expressit, qua postea
principes signant, Dioscurides.

XI.

Athena- At 6 ftKoVes f^expt f^rjTTw irXaoriKT) xai ypa(f)iKri Kol avhpiav- 15

llpeaBeia '''O'toiTiriKri ^(Tav, oiibe evoiiiCovTO' ^avpiov be tov Sajxiov Koi

is that of the Pronaos of the temple of coins, cf. Drexler, Zeitschrift f.

ZensatOlympia, Olympia, Baudenkm. Numismatik, vol. xix.
ii, pi. cv (of. ib. i, pi. ix). Mosaic came XXXVII, 8. 7. Polycratis gem-
into general use in the time of the Dia- ma : according to Pliny in 4 of this §
dochoi ; cf. Athen. xii, 542 d, ih. v, book it was a sardonyx, and was
206 d. preserved at Rome, in the Temple of
, 2. asaroton oeoon : cf. the mosaic Concord, set in a horn, the offering of
intheLateran(Helbig,C/ajj. .(4K/.694) Augusta (sc. Livia).
strewn with fragments of food, and intacta inlibataque : on the other
the mosaic (Brit. Mus.) representing hand, Strabo, xiv, p. 638, speaks
strewn leaves. — Statins Silv. i, 3, 56. of its being splendidly graved, and
4. columba bibens a similar
: Herodotos (iii, 41) of its being a seal
subject in the famons mosaic of the of emerald (i. e. emerald-prase, see
Capitol, fonnd in the villa of Hadrian ;
Brunn, K. G. ii, p. 468 Furtwangler, ;

Helbig, Class. Ant. 4150 cf. the ; Jahrb. iii, 1888, p. 194) mounted in
mosaics in Naples, Mo. 9992 and a gold ring ff(f>pTj'Yh xp^^riJScTos it ;

114281. From the words mirabilis was reputed the work of Theodores,
ibi it appears that the dove drinking cf. Pans, viii, 14, 1, and see note
was part of the larger composition above on xxxiv, 83.
representing the imswept floor. 8. Ismeniae Pint.
: Per. i
Doves on the edge of a vase are a Apuleius, tie Deo Socr. 21 Boethius, ;

subject of frequent occurrence on Inst. Mus.l, I (ed. Friedlein, p. 185,

 APPENDIX 225

celebrated worker in mosaic is \Sosos, who laid the floors of

a house at Pergamon, known as the aa-aparos oIkos, or Unswept
House, because he represented in small bits of many-coloured
mosaic the scraps from the table and everything that is usually
swept away, as if they had been left lying on the floor. Among
these mosaics is a marvellous dove drinking and casting the
shadow of its head on the water. Other doves are pluming their
feathers in the sun on the lip of a goblet.

X. Book
XXXVII.
The gem shown as that of Polykrates is uncut and untouched. 8
We find that at a much later date, in the days of Ismenias, even
emeralds were engraved. An edict of Alexander the Great con-
firms this : he forbade any one but Pyrgoteles, who was beyond
doubt the greatest master of the art, to engrave his likeness on
these gems. After Pyrgoteles, \ApoUonides and \Kronios won
fame, and Dtoskourides who engraved that perfect likeness of the
god Augustus which later emperors have used as their seal. 9

XI.

Images of the gods were not had in honour at all before the
arts of modelling, of painting and of statuary were introduced,

20). Dionysodoros is known only by Furtwangler, Jahrb. iii, 1888,

from Pliny. pp. 218-224; ib. pi. iii, i; pi. viii,

9. smaragdos how- : emerald, 22, 23, 24, 25, 26. To these signed
ever, does not appear to have come instances should be added, according
into use till Hellenistic times, and to R. von Schneider {Album der
then only unimportant gems were cut Wiener Sammlungen, p. 16, text to
in this stone. plate 41), the great Vienna cameo
II. ab Pyrgotele : vii, 125 (App. representing the family of Augustus.
I) ; cf. Apuleius, Florida, i, p. 7 (ed. —Three sons of Dioskourides,—
Krueger, 1865) ; he is unknown out- Hierophilos, Hyllos, and Entyches,
side literature. — known from
are on their signatures

13. Augusti imaginem: a full gems to have been gem-engravers;

list (needing revision however) of see Furtwangler, op. cit. p. 304 ff.

portraits of Augustus on gems is 15. Al 8' 6iK6ves . . . ; the rhetoric

given by Bernoulli, RSm. Icono- of Athenagoras seems evolved out of
ii. p. 46. None can be the same curious notion appearing in
traced back to Dioskourides. Plin. xxxiv, 9, 16, that art progressed
Diosourides of the numerous
14. : from lesser objects to statues of the

extant gems bearing the signature of

D. six only are recognized as genuine 16. SavpCov . . . SajiCou : we again
 2a6 APPENDIX
irepi X/)iff- Yipi,r(avos rov SiKVcavlov koJ KXe&^ouy tov KopivdCov koI Koprjs

/gj
' ' KopLvOias yevop-ivcav kol (TKiaypacjiCas fjiev evpeOela-qs vtto ^avpiov
Schwartz, tTTTFOV (V fiXia irepiypd^avTos, ypa<j)iKfjs be into Kpircovos ev nivaKi
p. 18).
X€X.evK(iiixiv(c (TKtas avbpos koI yvvaiKos eva\ei\j/avTOS, cltio be rrjs
Kop'qs KOpOTtXaOiKrjs [evpeOrj] (epaiTLK&s yap tlvos exovara -nepi- 5

eypa^l/ei/ avTov KOi}XMp.evov ev roiyj^ Tr\v ctki&v, eW 6 irarijp 7]a-6e\s

UTrapaWaKTa ov(7ri rij o/ioiorrjrt (^Kepafiov be eipydfero) avayXv^as

TTJv Trepiypacpfiv tttjXu TrpocraveitXripaxreV 6 tvttos en koI vvv ev

KopLv6(f o-(oferat), totHtols be e'niyevop.evoi AaCbaXos ©eoScopoy

2/xt\iy avbpiavTOTTOLriTiKriv koI irXacrTLKrjV Ttpocre^evpov. 6 p.ev br] ro

Xpovos oXlyos TOiTOVTOs rats eiKoVt Koi rfj irepi to, eXbatXa irpay-

ixareia, as e\eLV eliieiv tov l/cacrTOU Te-)(virr]v deov. rb fxev yap

ev 'E<l}e(T(f rfjs 'ApTejMbos kol to Trjs 'AOrivas (ptaXXov be 'AdrjXas'
aOrikt) yap &)s ot pLva-TiKcaTepov ooto) yap) rd oTro Trjs eXaCas Td
TraXaLov /cat ttjv Kadrjixevrjv "Evboios elpyaaaTO iJ,ad7]Tr]s AaibaXov, xs
o be Ilv^tos epyov ®eob(ipov /cat TrjXeKX^ovs Koi 6 A'qXios /cat

fi "Apre^is TeKTaiov /cat 'AyyeXioivos Teyjjr\, fj be ev Stf/^u "Hpa

Kat ev " Apyei 'SijxiXibos xe'tpes koI ^eibiov to. Xoma etScoXa fi

A(ppobiTr] (?7) ev Kvibw erepa Yipa^iTiXovs Tex^V; o ev'FiTnbavpco

'A<r/cX7)Trtos epyov ^eibiov. avveXovTa (f>a.vai, ovbev avT&v bia- 20
'rre(pevyev to ju.r/ vt! avdpanrov yeyovivai. el roivvv Qeoi, tl ovk
^crav e£ apxvs ! ^i bi elaiv veioTepoi t&v TreTioiriKOTuiv ; tl be

ebei avToXs Trpos to yevea-dai avOpairixiv nai Texyr\s ; yrj Tavra koi
XCOoi Kai vX-q /cat -nepiepyos Texyr],

catch here the echo of some art- Athenagoras is quoting —though liot

writer who had contrasted the claims necessarily at first hand — from an
of island and mainland schools ; cf. author older than B.C. 146.
Introd. pp. xxiii, xxvi. 14. TO diro Tf]S cXaCas ; Pans, i, 26,
1 . KXciivGous : Plin. xxxv, 1 5. 6. Athenagoras is the only writer
Kop-qs KopwSCas : Plin. xxxv, 151. who attributes the statue to Endoios.
6. auToi) Kot|i.cop.evov ; while in 15. "EvBoios: above note on xvi,
Pliny the lover is represented as going 2i4 = App. IV.
away. pa6r]TT|s AaiSiXou : Pans, i, 26, 4.
8. CTi Kai v€v ev KopivOcp ; donee 16. 6ScIIij9ios: Diodoros, i, 98.
Mummius Corinthum everterit, Plin. A-qXms
6 Paus. ii, 32, 5
: ; cf.

xxxv, 151 ; hence it appears that Plut. de Mus. 14 ( = Bemardakis, vi,

 APPENDIX 227

but are later than the days of \Saurias of Samos, -^Kraton of

Sikyon, Kleanthes of Corinth, and a maiden, also of Corinth.
Linear drawing was discovered by Saurias, who traced the outline
of the shadow cast by a horse in the sun, and painting by Kraton,
who painted on a whitened tablet the shadows of a man and
woman. The maiden invented the art of modelling iigures in
relief.She was in love with a youth, and while he lay asleep she
sketched the outline of his shadow on the wall. Delighted with
the perfection of the likeness, her father, who was a potter, cut
out the shape and filled in the outline with clay ; the iigure is

still preserved at Corinth. came Daidalos, Theodoras,

After these
and Smilis, who introduced the arts of statuary and modelling.
In fact so short a time has passed since statues and the making
of images were introduced, that we can name the maker of each
several god. Endows, the pupil of Daidalos, made the statue of
Artemis at Ephesos, the old olive-wood image of Athena (or
rather of Athela [the unsuckled], for so those better acquainted
with her mysteries call her), and the seated image ; the Pythian
Apollo is the work of Theodoros and Telekks ; the Apollo and
Artemis at Delos are by Tektaios and Angelion ; the statues of
Hera in Samos and in Argos are by the hand of Smilis, and
the other statues are by Pheidias ; Praxiteles made the second
Aphrodite at Knidos, and Pheidias the Asklepios at Epidauros.
In a word, there is not one of them but is the work of man's
hands. If, then, these are gods, why were they not from the
beginning, and why are they younger than those who made them ?
What need had they of men and human art to bring them into
being? They are but earth and stones and wood and cunning art.

p. .^oo) ; for the type see P. Gardner above notes on App. VI. and on
and Imhoof-Blumer, JVum. Cotnm, xxxiv, 83.
CC xi-xiv. 18. Iv 'Apysi: this Argive Hera

17. ^ 'ApTejits: known only from by Smilis is known only from Athena-
Athenagoras. goras ; but see Brunn, K. (7. i, p. 27.
\ h\ Iv 2. "Hpa: Pans, vil, 4, 19. ' A(t)po8. ev KvCSm : Plin. xxxvi,

4; for the type cf. P. Gardner, Samos 20.

and Samian Coins, pp. 19, 75ff, pi. v, 20. 'A<rKXi]in.6s : see Introd. p. liv,

1-9. Smilis was himself a Samian, note i.

Q3
ADDENDA
 I. INTRODUCTION
Page xliii, note 2. F. Munzer provides me with a final proof of the in-
debtedness of Antigonos to Duris for the story of the Nemesis ; he points out
(in a private letter) the striking similarity betwreen the story told in Pliny,
of the vengeance taken by Agorakritos, and the following fragment from
Duris in Plutarch (Lysander i8 = Fr. 65, Miiller) 'AvTi/ji&xov 5J rov KoXo- :

(pwvLov Kai Nttcrjp6.Tov tivos ^UpaX^wTov -noiijfiaffi AvadvSpeia Stayoovtaafievayv en*

aiiTov (sc.Lysander) tov NiKTjparov k<rTe(pdv(iiff€v, 6 S^ 'Avriftaxos
axSeaSels rjcpdviae rb Troirma. TIK&twv Si vios iiv rin ical Sav-
/id^oiv rbv 'AvTtfxaxov e-nl ttj iroiijTiKy, 0ap^(tis (p^povra ttjv ^ttov
aveKa/iPave koX napfiuiBtiTo, rots dyvoovai. There were two other poets,
. . .
'

Antimachus Colophonian, and Niceratus born at Heraclea, which did both

wryte verses to honour him (Lysander), striving whether of them should do
best. Lysander judged the crown and mctory unto Niceratus: wherewith
Antimachus was so angry that he rased out all that he had written of him.
But Plato, who at that time was young, and loved Antimachus because he
was an excellent poet, did comforte him, and tolde him that ignoraunce ..."
(North, ed. Wyndham, vol. iii, p. 247).
P. li. Still another story of a self-taught artist, preserved this time not
in Pliny but in Pausanias, has F. Miinzer, whose
been pointed out to me by
communication on the subject I translate verbally The account of Pausanias :
'

(v, 20, 2) concerning Kolotes may be classed with the stories from Duris

noted Hermes^ xxx, p. 532 f. etvai Se <pa(Xiv l£ '^parckeia? rbv KoKdtTrjv.

: oi 6e

TToKvirpa-yfjioi/'^aavTes anovS^ rd ks tovs rrXdara^ Hdpiov dwo<paivov(nu ovra a{n6v,

fioBTjTTjv nafftTeXous, IlafftTtXTjv S^ auTo5i5a;^^^i/at (Buttmann's reading for the
aiiTiiv SiSaxB'j''ai of the MSS., which it is impossible to retain except by
assuming a lacuna). Thus the same is recounted here of Pasiteles as of the
several men noted loc. cit. Like the Seilanion, Protogenes, Erigonos, and
Lysippos of Dnris, Pasiteles is represented as having had no teacher like ;

Seilanion, Erigonos and Pythagoras of Rhegion, he had one pupil. Pasiteles

is as completely unknown as these three pupils, and as the master of the

philosopher Demokritos invented by Duris (fr. 56). I accordingly believe

that the view combated by Pausanias must be traced back to Duris. It is

uncertain whether Antigonos had already combated it, or whether he com-

bined it with the current tradition, inasmuch as he transferred Kolotes from
the Parian to the Athenian school. To alter the birthplace of Kolotes from
Herakleia to Paros, whereby he was made into the countryman of his fellow-
pupil Agorakritos, was a slight matter in the eyes of Duris, for he had turned
Kleoboulos of Lindos into a Karian, and proclaimed the foreign origin of
other of the seven sages (Miiller, I^. H. G. ii, p. 482, fr. 53-55) probably also ;

he had transferred the scene of an anecdote from Kroton to Agrigentum

(Plin. xxxiv, 64, cf. Hermes, xxx, p. 537, u. i).' In the light of the preceding
332 ADDENDA
note of Munzer's, it has become plain to me that Duris must be held responsible
for the tradition that represented Alkamenes as a native of Lemnos (A^/iwoj,"

Souidas, s. v. 'AXra/teVijs ; vrjaiiirr]!, Tzetzes, CAil. viii, 340), whereas Antigonos

turned him into an Athenian (Plin. xxxvi, t6). It is natural to find Duris—
a Samian — repeatedly
championing the claims of the Greeks of Asia Minor
and the islands to artistic pre-eminence. Nor must we forget that, careless
of accuracy though he was, he doubtless had at his command detailed
information which was no longer within reach of the later art-historians, who
were content to group artists about the chief art-centres. Thus Endoios,
who was probably really an Ionian (note on Appendix XI), is represented
in Pausanias simply as ^ABrjvatos. One great error of modem archaeologists
is to attempt to harmonize the variant traditions instead of tracing them
to their different sources, which will generally be discovered in periods vride
apart.
P. li, note 6 :TAe masters of Pheidias. I am pleased to find what
I wrote six months back concerning the masters of Pheidias confirmed by the
comments of Michaelis {Deutsche Lilteraturzeitung, 1896, no. 25, p. 788 ;

rev. of E. Gardner's Handbook of Greek Sculpture) on the untrustworthiness of

the Hagelaidas tradition the same scholion on Aristoph. Frogs, 504, which
:

names Hagelaidas as the master of Pheidias, also contains a mistake con-

cerning the Herakles Alexikakos of Hagelaidas; this same untrustworthy
scholion is the source for the information of Tzetzes and Souidas (above, p. li,
note 3). Michaelis accordingly disputes the strange contention of E. Gardner
{Handbook, p. 194 ; cf pp. 248, 265) that ' the relation of Pheidias to Ageladas
is the best established by literary evidence,' ' vielmehr ist Phidias' Schiilerver-
hdltniss zu dem Attiker Hegias einmal, aher gut, das zu Hageladas viermal,
aber schlecht bezeugt.' To the unsatisfactory character of E. Gardner's proposed
emendation of Dio Chrys. Or. Iv. i {Class. Rev.\m, 1894, p. 70) I have drawn
attention elsewhere {ib. p. 171, note i).

P. Ixi. The story of the angry artist and the sponge is told by Dio
Chrysostom (Or. Ixiii, 4 = Schriftqu. 1 889) of Apelles and his picture of a war
horse. I find that Mr. A. S. Murray {Handbook, p. 3S4) has already pointed
out, in connexion with Apelles, that the story seemed the anecdotic illustration
of the line of Agathon.
P. Ixii. From a remark in note i on p. 537 of his article in the Hermes, it
would seem that Miinzer also inclines to attribute the story of Zenxis and the
five maidens to Duris. But Miinzer makes Duris responsible for the transference
of the scene of the story from Kroton to Agrigentum (cf. above. Add. to p. li).
Possibly, therefore, we may some day be able to drive the story home to
a source whence Duris himself quoted or misquoted. —
P. Ixxxv. Fabius Vestalis it is worth noting that, since in each of the
:

three notices his name appears last on the Plinian lists, he was probably only
a supplementary author (comm. by Dr. Miinzer).

BOOK XXXIII
p. 6, 2. crustarius : there are superb examples of kjipKimaTa.
among the
cups of both the treasures of Hildescheim (Berlin) and of Bosco Reade
(Louvre) cf. Winter, Arch. Anz. 1896, p. 93.
; For the most part the
emblema appears in the shape of a bust in full relief, soldered to a silver
plate.
 ADDENDA 233

BOOK XXXIV
P. 6, 18. froscriptum ab Antonio: cf. Gardthausen, Augustus, i, p. 136.
P. 8, 19. tricliniorum pedihus fulcrisque : that ihe fulcrum
the frame- was '

work on which the pillows of a couch or the cushions of a chair were placed
has been maintained and fully proved by W. C. F. Anderson, Ciass. ReTi. iii,

1889, p. 322 ff.

P. 14, 7. ubi omnium . iconicas vacant ; the latest discussion of this
. .

passage is by Dittenberger and Purgold, Olympische Inschriften, col. 236,

295 f, where it is pointed out that in the inscr. recording the Olympic victory of
Xenombrotos of Kos (ib. no. 170; Pans, vi, 14, 12) the roTo^ SttoTov dpSs of the
fifth line proves that the statue was iconic yet the epigram and the silence of
;

Fausanias both show that X. was no TpiaoXvumovinris.

P. 16, 13. elephant! on triumphal chariots drawn by elephants see, how-
:

ever, Gardthausen, Augustus, ii, p. 257.

P. 23, 13. Statues of Demetrios of Phaleron the lines from Varro run :

^ic Demetrius aeneas tot aptust

Quot luces habet annus absolutus
(for the first line, as emended by Scaliger, Bormann, Arch. Ep. Mittk. xvii,
1894, p. 233 f, proposes hie Demetrius est [tot aera nacyus). Wachsmuth
(loc. cit.) is probably right in tracing back the legend of the number of statues
—
put up to Demetrios to an epigram ' as many statues as there are days in the
—
year ' a playful turn which was afterwards accepted as serious fact, giving rise
not only to the statements in Varro and Pliny, but to the improved version in
Diogenes that were erected to Demetrios in a period less than
all these statues
a year; elKoyaiv ^'i^luBtj rats rpiaicoaiats, Siv at
xaA/cwi' e^rjicovTa irpos
TT\eiovs k(j> iTnrojv ^ijav Kal dpixaTccv teal (Xwoipibaiv, <xvvTC\ia^'eiaai kv ouS^

—
Tpiauoaiais ^fiipais. Cornelius Nepos, Miliiades, vi, and Plutarch, Praec.
reip. gerend. 11 E (Bemardakis, v, p. 116), mention 300 as the number of the
statues, a round sum, more or less representing the truth. The 1,500 statues
mentioned by Dio Chrysostom (xxxvii, 41) are mere foolish rhetoric. The
distich from Varro was presumably inscribed, in his Imagines (cf. Plin. xxxv, 1 1 ;

A. Gellius, Noct. Ait. iii, 10, i 11, 7), beneath a portrait of Demetrios; see
;

Bormann, loc. cit.

P. 28, 18. Rhodi eliamnum the passage from Jerome is referred by Momm-
:

sen {Ueber den Chronographen, S^c, p. 692) to a Roman history of the period '

of Caesar and Augustus,' by Reifferscheid (p. 360, n. 224) to Suetonius; cf-

Gardthausen, Augustus, i, p. 67.
P. 32, 25. Arvemis the temple is presumably the one described by Gregory
:

of Tours (i, 30), of which the foundations were discovered in 1874, see Mowat,
Rev. Arch. 1875, p. 31 ff., where the five inscriptions Mercuric Arverno are
discussed. As to the type of Zenodoros' Mercury, Mowat, Bull. Monum.
1875, p. 657 if., conjectures that we possess an echo of it in the seated Mercury
on an altar from Horn in Holland (inscr. Brambach, C. I. R. 2029, p. xxvii);
cf. S. Reinach, Bronzes Figuris, p. 80, no. 68.

P. 34, 5. in officina: perhaps it is scarcely correct to refer this to the work-

shop or studio of Zenodoros. From the size of the colossus it is probable that
a special workshop was erected for the artist.
P. 34, 21. sphingem Miinzer points out to me that Quinct. vi, 3, 98, accords
:

with Pliny in giving bronze as the material of the sphinx. Now 'in this
234 ADDENDA
chapter of Qiiinctilian several hons mots of the personages of the Ciceronian age
and of Cicero himself have been shown by Wissowa {Hermes, xvi, p. 499 ff.)
to be borrowed from the book of Domitius Marsns, de urbanitate, which
Quinctilian frequently quotes in this chapter.'Therefore we may assume the
same D. Marsus, who appears Index to Bk. xxxiv, to have been Pliny's
in the
authority for the story of Hortensius and the sphinx. (This observation of
Mimzer's will shortly be published in his Beitrdge ssur Qtiellenkritik der
Naturgeschichte des Plinius.)
P. 36, II. Hagelades: E. Gardner, Handbook of Greek Sculpture, p. 192,
proposes to read the 'A7eXof6a of /. G. B. 30 (bathron of Praxiteles) as
& 'A-yfKaiSa, and, accordingly, takes the name of the Argive master to have
been Agelaidas. The form Hagelaidas (Greek Hagelaidas), which we print
in the translation, is also retained by Dittenberger and Purgold, Inschr. von
Olympia 631, where see literature.
P. 38, I. Argium : owing to its position a proper name, and not, as often
surmised, the ethnic of Asopodoros, in which case it would have been placed
after the name it qualified, cf Gorgias Lcuon (§ 49), Demean Clitorium; Ditten-
berger and Purgold in Inschriften von Olympia, col. 647, where see literature.
P. 38, I. Asopodorum for the inscription on the bathron of Praxiteles, see
:

now Inschr. von Olympia, 630, 631, where Dittenberger and Purgold rightly
reject Rbhl's proposed identification of the Plinian Asopodorus and Athenodorus
with the artists of the bathron.
P. 38, a. Clitorium : Paus. x, 9, *j, ovtoi (sc. 'ABtjv. Kal 'Aa/iias) 5e 'ApKaSes
eifflv eK KXeiropoi.
P. 38, 5. Leochares: I refer the passage concerning the statue of Isokrates by
Leochares in Vit. X Orat. 2'] to Heliodoros on the authority of Keil, Hermes,
XXX, 1895, p. 202.
P 40, 1. Date of Seilanion Furtwangler, Statuenkopien im Alterthum,
:

p. 562, shows, however, that the connexion attempted by Delamarre between

C. I. G. S. 414, and C. I. G. S. 4253, 4254, is unfounded D.'s conjecture that :

the latter refers to the revival of the games in 329-8 B.C. is unproven; 4253
refers not to the to the Hieron of Amphiaraos and the
games but generally
Penteteris, 'while 4254is a decree inhonour of the officials in charge of the games.
There is nothing in either inscription implying a revival. Thus the only evidence
we are left with for the date of 414 is derived from the epigraphy according to ;

Dittenberger the upper limit is 366 B. C. Now if we accept the extant por-
traits of Plato as copies after an original by Seilanion (Helbig, Class. Ant.

265, p. 183 f.), and adopt Furtw'angler's identification of the Theseus at Ince-
Blundell Hall {Statuenkopien, pi. ii, iii, ib. p. 559 ff.) as a copy of the Theseus
of Seilanion (Plut. Thes. iv), there would be artistic grounds for placing the
artist as far back in the fourth century as the epigraphy of C. I. G. S. 414
allows. — No great weight can be attached to the date assigned to Seilanion in
Pliny's chronology, the mention of Seilanion having been loosely tacked on by
a later hand to the old Xenokratic chronology, Introd. p. xlix, note 2.
P. 40, 2. Zeuxiaden the identity of the portraitist of Hypereides with the
:

pupil of Seilanion is, however, doubtful, cf. Introd. p. liii.

P. 42, 4. formae cognomen ^Vx. the surname of beauty'; for/o?-»za= beauty,
'

cf.below § -i%,cliduchon eximia forma ; xxxv, S6,ob admiral, formae; O. Jahn,

Arck. Zeit. 1847, p. 63 (cf. Brunn, JiT. G. p. 182), believe the Greek epithet
of the goddess to have been Mopcpii, which occurs as an epithet of Aphrodite at
Sparta (Paus. iii, 15, 8). Other conjectures are /toAAi/top^os and KcMuoTrj.
 ADDENDA 235

P. 42, 5. cliduchum it is Pliny's rule to mention the names of gods, while

:

he almost invariably omits to name mortals their statues are referred to by ;

their motive, e.g. diadumenus, discobolus, apoxyomenus, malaferens nudus, &'c.

Hence it is that the cliduchus cannot be regarded as the Athena Promachos
(so Urlichs in Chreslom.),nor the astragalhontes of Polykleitos as the Dioscuri
(so Furtwangler in Masterpieces, p. 292, note i), nor the mala ferens nudus as
a statue of Herakles.
P. 42, 10. diadumenum another fairly complete copy of this statue,
:

recently found in Delos {B. C. H. 1895, pi. viii), is— to judge from the publica-
tion—of poor workmanship, inferior to the Madrid copy; cf. Furtwangler,
Statuenkopien im Alterthum, p. 548.
P. 44, I. telo incessentem I ought to have stated more fully that Furt-
:

—
wangler (/o^-. aV.) shows the impossibility on grammatical and other grounds
of the reading talo, which is supported by Benndorf. The latter supposes the
have stood on an astragal basis a forerunner to the Kairos
statue referred to, to —
of Lysippos {Schriftqu. 1463-1467), further, to have been described by some
Greek writer as -yv/jLyds daTpayaAai eiriKfiiievos where Pliny then translated the
ewi/ceiij.(vos in its alternative sense of ' advancing ' or ' pursuing.' But in that
case talo incessens could only mean advancing towards or pursuing a knuckle-
bone, which is nonsense. Talo can only be the instrument, the weapon with
which the man is attacking, so that everything combines to commend Benn-
dorf s own earlier conjecture telo.
P. 44, 3. in Titi imperatoris atrio the reading of Cod. Bamb. seems to be
;

in titi imperis atrio duo (see our facsimile) incliti in patrio duo Bamb. e corr.
;

P. 44, Portrait of Artemon : in Class. Rev. 1894, p. 219, I pointed out

6.

that the erection of the portrait should probably be connected with the Samian
expedition of 439 B.C., at which date Furtwangler {Masterpieces, p. 119) con-
by Kresilas to have been put up. Meanwhile grave doubts
jectures the Perikles
have arisen in my mind as to the authenticity of the Polykleitan Artemon.
The confusion already noted by Plutarch with the Artemon of Anakreon is

suspicious. The notice in Pliny from an anecdotic source

is clearly derived
other than that from which his main narrative is borrowed. Possibly, as
Mvinzer hints, Hermes, xxx, p. 537, we have here further traces of Duris.
P. 46, 1 pristas the MSS. are unanimous hence, since H. L. Urlichs
. : ;

{loc. cit.) has satisfactorily shown that a group of sawyers put up doubtless —
—
by some successful master-builder is absolutely in harmony with fifth-century
traditions, I had not thought it necessary to refer to Loeschcke's proposed
—
emendation of pristas to pyctas an emendation, however, which threatens to
come into favour again.
P. 46, 14. puerum tabellam for the motive Reisch (/. c) compares the
. . . :

vase in Munich (Cat. 51), Benndorf, Griechische u. Sicilische Vasenbilder, i,

pi. ix.

P. 48, 16. The Apoxyomenos of Lysippos : the copy in the Braccio Nuovo of
the Vatican (Helbig, 31) seemed to me too well known to need mention. For
the writer from whom Pliny got the story of Tiberius's passion for the statue,
see Introd. p. xcii, n. 4.
P. 50, 6 : for portraits of Alexander, see also Helbig, Sopra un Busto
Colossale d'Alessandro Magno
Mon. Antichi (R. Acad. Lincei), vol. vi, 1895.
in

P. 60, I. Fortrait of Perikles: Bliimner and Hitzig (Pausanias, p. 307)

remark that the word dcSpiai, used by Pausanias (i, 25, i), does not apply to
a terminal bust. Cf. further Bernoulli in Jahrb. xi, 1896, p. 107 f.
236 ADDENDA
P. 60, 3. Minervam niirabilem et aram: while still proposing to see
. . .

a copy of this Athena in the Pallas de Velletri whose original he refers to

'
'

Kresilas (see Introd. p. Ixxv, n. 2), Furtwangler recognizes a copy of the

Zeus in a fine statue at Ince-Blundell Hall, Statuenkopien im Alterthum,
plates i and iii, i, ib. p. 551 ff., the original of which he attributes on stylistic
grounds neither to Kresilas nor to the unknown Kephisodoros, but to the
elder Kephisodotos. The reasons adduced, however, are scarcely strong
enough to warrant the alteration in the Plinian text of the MS. reading
Cefhisodorus to Cephisodotus.
P. 60, 10. celetizontas : for the motive cf. further a statue in the Palazzo
Orlandi at Florence, Arndt-Bruckmann, Einzelverk. 342.
P. 66, 7. Hermaphrodite of Polykles the Berlin statue (193) is now pub- :

lished by Furtwangler, Statuenkopien, pi. xii, who sees in it a copy of the work
of Polykles {ib. p. 582 ff.).

P. 68, 3. nee hominem ex aere fecit, sed iracundiam while admitting :

—
what is indeed incontrovertible that this phraseology is common to Silver
Latinity, I now believe that an epigram is after all concealed behind it (Introd.
p. Ixx), all the Plinian criticism and analysis of Greek works of art being Greek
in their origin cf. note on xxxv, 61.
;

P. 68, 8. Theodorus cf. also vii, 198 xxxv, 152. Identity with the artist
: ;

of C. I. A. 373, 90 (from Akropolis, middle of sixth century) is probable but

not certain.
P. 70, 4. infans . . . anserem strangulat: in his translation of Herondas
(1893), p. xiv, Crusius alludes to the group in Herondas as being wholly
marble. The attempt to establish identity with the Plinian group seems futile,
seeing how common the subject was in antiquity ; cf. E. Gardner in J. H. S. vi,

1885, pp. 7 ff.

P. 72, i. Apellas: cf. also /. G. B. 100 { = Insckriften von Olympia, 634),

from the basis supporting the horses of Kyniska in the Pronaos of the Temple
of Zeus, Pans, v, 12, 5 (/. G. B. ^^=Inschr. von 01. 160).
P. 72, 8. Hermes mining the infant Dionysos by Kephisodotos the Identity :

of this group with the famous group at Olympia seems to me probable. The
latter is attributed to Praxiteles on the authority of Pausanias (v, 17, i) only.
works attributed to Pheidias (xxxv,
I believe that in this case, as often in that of
54, Athena by Kolotes; xxxvi, 17, Nemesis and Mother of the Gods by Agora-
kritos), all of which are put down to Pheidias by Pans. (Introd. p. xl, cf. p. liii,
note i), Pliny represents the more detailed and perchance the more trust- —
—
worthy tradition, while Pausanias gives only the popular attributions. If the
Hermes of Olympia was really by Praxiteles, but could pass in the eyes of
certain critics as the work of his father or elder brother, it follows that the
statue belonged, as Brunn has maintained, to the artist's earlier period and not
to his later as recently argued by B'urtwangler {Masterpieces, p. 307 f). It may
be questioned whether we are not too completely under the spell of Pausanias,
whose untrustworthiness in the matter of attributions is notorious, and who,
writing some 600 years after the artists of the great period, was as liable to
blunder concerning their works as the compiler of a modern guide-book
cotceming the artists of the Renascence and their works. However, I am at
present neither prepared nor equipped to challenge the Praxitelean authorship
of the Hermes on morphological or aesthetic grounds. long and complete A
reinvestigation of all the extant material be necessary, but I think would first

it worth while to point out distinctly that there were probably two ancient
 ADDENDA 237

traditions concerning the authorship of the

statue, and that the comparative
trustworthiness of each should be investigated. I may add that the resemblance
of the Kephisodotian Eirene holding the child Ploutos to
the Hermes nursing
the child Dionysos is so strong as only to be satisfactorily accounted for
by
referring them to the same artist both figures are posed in the same manner,
:

while the children are, as has often been noted, practically identical (cf. Fnrt-
wiingler, op. cit. p. 296).
P. 72, 12. Cenchramis : cf. for Kenchramos, Purgold on Inschriften von
01. 638.
P. 74, 2. tubicine: cf. Urlichs, Pergamenische Inschriften, p. The
24.
commentary is not quite clear at this point ; the explanation of Winckelmann
{Geschichte, ed. 1776, p. 660 if. = tr. Lodge, vol. ii, p. 204fr.) applies to the
' dying Gaul of the Capitol, and not to the Plinian tubicen.
'

P. 74, i. main interfedae : that this was a Gaulish woman seems to have
been Jirst suggested by Urlichs, /oc. cit. on the whole subject of these works
;

by Epigonos see G. Habich, Die Amazonengrufpe des Attalischen Weih-

geschenks CEine Studie zur Pergamenischen Kunstgeschichte), Berlin, 1896,
p. 14 ff.
P. 76, Scopas uterqtie: G. Habich, Die Amazonengruppe, p. 66, note z,
8.

is of opinion that scopas refers to the works of art

made by each of two artists
(uterque), and explains these works to have been dancing satyrs. Habich
supports his theory by appeal to the Munich vase. I must abide, however, by
the opinion which I arrived at about a year ago after careful study of the vase
in question, and which I have expressed in the Commentary.
P. 78, I. Callimachus : for his date consult Winckelmann, Geschichte (ed.
1776), p. 460 (=tr. Lodge, vol. ii, p. 123), Furtwangler, Masterpieces, p. 437.

BOOK XXXV.
P. 92, 13. M. Agrippa: for Agrippa's interest in art, see now Gardthausen,
Augustus, i. p. 749 ff.

P. 102, § 57, § 59. For the pictures in the Poikile Stoa, see now Hitzig and
Bliimner, Pausanias, p. 201 f.

P. 106, 2 . Zeuxis of Herakleia : I have not sufficiently emphasized the

commencement of Pliny's account of Zeuxis. It seems to me
difficulties at the

probable that the two conflicting dates of his birth given by Pliny represent
the conflicting opinions of Greek art-historians (Antigonos and Duns? cf.
Introd. p. xxxiii, on the beginnings of encaustic ; Introd. p. xxvi, on the origin
of sculpture). The epigram against Zeuxis attributed to Apollodoros should
have been alluded to among the epigrams discussed, Introd. p. Ivii.
P. 108, 7. Herakles strangling the snakes in presence of Alkmena and
Amphitryon. The vase-painting in the Brit. Mus. (F. 479) is now published,
Cat. of Vases in Brit. Mus. vol. iv, pi. xiii. The clumsiness of the figures,
the coarseness of the picture as a whole, and the absence of Amphitryo must
make us wary of accepting it as more than a distant echo of the picture by
Zeuxis,
238 ADDENDA
P. 134. The Pompeian Mosaic now at last well photographed by Alinari,
:

Naples 12050.
P. 136. The ' Thesmothetai' of Protogenes: the view of Curtius seems to me
probable. For dissentient opinions and the full literature of the subject, see
Hitzig-Bliimner, Pausanias, p. 145.
P. 140. The Resting Satyr : the subject occurs likewise in painting ;
a well

preserved instance in the Casa Nuonia at Pompei, phot. Brogi, Naples 11 216.
But, at present, no safe connexion can be established between these paintings
and the work of Protogenes.
P. 142, 1 7. shortened methods of techniqtu recent study in the Museum of
:

Naples has convinced me that the clue to these words is afforded by a singular
' '
—
group of Campanian pictures the most striking of which is Helbig 1 1 1
(=phot. Alinari, Naples 12035), known since the days of Bbttiger as ' Evening
prayer in front of the Temple of Isis.' The picture is not a work of the first

rank, but it proves that the ancients possessed to as great a degree as any
moderns all the secrets of impressionism the broad flight of steps is indi-
:

cated by a few bold dashes of white the heads of the crowd on either side
;

are roughly modelled within two bands of dark shadow white is applied ;

vrith extraordinary intelligence and variety, now for an effect of light, now for
the white garments that contrast with the dark skin of the Egyptian priests.
Closely connected with this picture is the similar subject, Helbig 1112, and
the two pictures of the 'Trojan horse' ((i) phot. Sommer, Pompei 9218,
(2) Helbig 1326). Egyptian origin is attested from their subjects for the Isis
pictures, while for those of the Trojan horse it has been proved both from the
treatment and motives by L. von Urlichs {das Holzerne Pferd). There
seems little doubt that these pictures are an example of that compendiaria, that
shortened method hated by Petronius, as in modem times by Ruskin, which was
successfully cultivated and perhaps first brought into fashion by Antiphilos, and
imitated in Greece by Nikomachos.
P. 154, 2. exilior: Robert, Hall. Winckelmannsprogramm, xix, 1895, p. 25,
maintains that the adjective in its usual sense of slender, slim or thin, cannot

be properly applied to the figures of an artist who expressed the dignitatis of

heroes, or who boasted that 'his Theseus had been fed on meat.' Robert,
accordingly, proposed to see in exilior the (mis)translation of some such word
as ^paxvT€pos = short, thick-set or stumpy. Robert's arguments have been
vigorously controverted by Furtwangler {Statuenkopien im Alterthum, p. 568 f.),

who defends the received interpretation of the passage. It seems to me that

the contradictions in the criticisms passed upon Parrhasios, which vex Robert,
and which Furtwangler attempts to reconcile, are the effect of the present juxta-
position inPliny of two or more appreciations of Euphranor, derived from totally
different sources the sentence mdetiir expressisse dignitatis heroum
: articulis- . . .

que grandior is plainly Xenokratic in its origin (Inlrod. p. xxvii) here there can ;

be no real contradiction between the dignitaies which Euphranor expressed and

the fact that he was in universitate corporum. exilior, for the first refers to the
artist's ethical conception of his heroes, the latter to their physical present-
ment. As regards the saying attributed to Euphranor concerning his Theseus,
I have pointed out both in the note on the passage and in the Introduction
(p. Ixiii f ) that its source is anecdotic,
—
Antigonos to Duris of Samos.
—
and can be traced back perhaps through

P. 155. Andromeda for the finest and best preserved of the Pompeian
:

pictures see phot. Alinari, Naples 1 2034.

 ADDENDA 239
P. 156. Achilles detected by
Ulysses: phot. Alinari, Naples 12001, id.
12000; a different scheme seems preserved in the recently discovered picture
in the Casa Nuova at Pompei, phot. Brogi 11226.
P. 159. Medeia of Timomachos the picture Helbig 1262 (=
: phot. Alinari,
Naples 12024) seems to me on close inspection to be really a
copy after
a good original, presumably, then, after the Medeia by Timomachos.
The
single figure of Medeia, on the other hand, appears
to me extremely inferior
in conception and execution pose and accessories are different, and I can see
;

not the slightest reason for referring it to the same original as the former
picture.
P. 159. Orestes and Iphigeneia: phot. Alinari, Naples 12020.
P. 162.. Herakles and Deianeira for the subject, treated with considerable
:

mastery, and evidently after a good original, see the Pompeian picture, phot.
Alinari, Naples 12026 (cf. Helbig, Wandgemdlde, 1146).
P. 166, 14. quinquatrus celebraniem Simos' picture apparently lent itself
:

to a Roman interpretation, which by Pliny's time had superseded the true

Greek explanation of the subject.

BOOK XXXVI.
P. 190, 9. Statue of Mother of Gods by Agorakritos Furtwangler, Statuen-
:

kofien, p. ^I'j ff., claims to have discovered a copy of this work in a statue of
the Villa Pamfili in Rome.
P. 202, 12. Timotheos: I have lately examined the 'Leda and the Swan'
in the Capitol ; the connexion established between it and the Epidaurian
sculptures by both Amelung and Winter seems to me to stand the test of minute
criticism ; it is, however, disputed by Arndt (Arndt-Bruckmann, Phot. Einzel-
verk. ii, p. 30).
P. 205, 9. Hermerotes the point made by Cicero {loc. cit.) was probably
:

suggested by the word Hermathena, rather than by the actual monument. Cf.
also Att. i, I, 5 ib. 10, 3 {ffermeracles'].
; terminal iigure at Newby HallA
(Michaelis, Anc. Marbles in Great Britain, p. 531) affords a doubtful instance
of an Hermeros. Michaelis brings it into connexion with the work of Tauriskos.

P. 208, 1. 4. Venerem lavante?n se Polycharmus concerning this

. . . :

difficult passage I can only arrive at negative results, (i) The reading sese
Daedalus must, I think, be rejected, the best codices offering no evidence for it
whatsoever ; the corrupt sedaedalsas of Cod. Bamb. conceals either further
descriptive words or the name of the locality where the statue was. (2) The
current attribution of the Venus lavans se to one Daidalos of Bithynia, known
only on the authority of Eustathios {Schriftqu. 2045), which seemed to receive sup-
port from the recurrence of a crouching or bathing Aphrodite on Bithynian coins
(see Bernoulli, Aphrodite, p. 317), must also be renounced; the type on the
coins occurs elsewhere, and belongs to a series whose origin can be traced back
to high antiquity (cf. Friederichs-Wolters, p. 571). (3) The notion that two
statues are mentioned in the passage, and that the first was crouching, in oppo-
sition to the Venus stans of Polycharmos, is entirely without support stantem ;

may be used here, not necessarily of an upright versus a stooping figure, but in
the sense of placed,' situated.' Brunn, K. G. ii, p. 528, Miiller, Handbuch,
' '

377, note 5, take the whole sentence to be descriptive of one statue by Poly-
charmos.
240 ADDENDA
P. 210. Caryatids of the Pantheon: see also Helbig, Class. Ant. I, and
Gardthausen, Augustus, ii, p. 439 f.
P. 212. Lioness by Arkesilaos :Mr. Cecil Smith kindly reminds me, in this
connexion, of a '
mosaic in the Brit. Mus., from Pompei (an early one),
fine

representing a lion and three Cupids :one has bound the lion with a cord, one
seems to hold a drinking-vessel, and the third holds an object which seems to
be a large dart. It is a good illustration of the Arkesilaos subject, and is
evidently a copy from a Hellenistic relief.'

—
N.B. The student will find all references concerning Roman topography
admirably put together by Hiilsen in the Nomenclator Topographicus to
Kiepert and Hiilsen's Formae Urbis Romae Antiquae, Berlin, 1896.
INDEXES
 INDEX
NAMES OF ARTISTS
Action, painter, xxxv, 50, 78.
Action, statuary, xxxiv, 50.
Aglaophon, painter, xxxv, 60.
Agorakritos, sculptor, xxxvi, 17.
Aiginetas, painter, xxxv, 145.
Akragas, chaser, xxxiii, 155.
Aleuas, statuary, xxxiv, 86.
Alexis, statuary, xxxiv, 50.
Alkamenes, statuary and sculptor,
xxxiv, 49, 72; xxxvi, 16, 17.
Alkimachos, painter, xxxv, 139.
Alkon, statuary, xxxiv, 141.
Amphikrates, statuary, xxxiv, 72-
Amphistratos, sculptor, xxxvi, 36.
Anaxander, painter, xxxv, 146.
Androbios, painter, xxxv, 1 39.
Androboulos, statuary, xxxiv, 86.
Androkydes, painter, xxxv, 64.
Angelion, sculptor, Athenag. IlpeaP.
17 (App. II).
Antaios, statuary, xxxiv, 52.
Antidotes, painter, xxxv, 130.
Antignotos, statuary, xxxiv, 86.
Antigonos, statuary, xxxiv, 84.
Antimachos, statuary, xxxiv, 86.
Antipater, chaser, xxxiii, 156.
Antiphilos, painter, xxxv, 114, 138.
Antorides, painter, xxxv, iii.
Apellas, statuary, xxxiv, 86.
Apelles, painter, xxxv, 50, 75, ^6,
79-97, 107, III, 118, 123, 140,
145; vii, 125 (App. i).
Aphrodisios, sculptor, xxxvi, 38.
Apollodoros, painter, xxxv, 60, 61.
ApoUodoros, statuary, xxxiv, 81, 86.
Apollonides, graver, xxxvii, 8tApp.io).
ApoUonios, sculptor, xxxvi, 24, 34.
Archermos, sculptor, xxxvi, n-13.
Arellius, painter, xxxv, 119.
Argeios, statuary, xxxiv, 50.
Aridikes, painter, xxxv, 16.
Aristarete, painter, xxxv, 147.
Aristeides, painter (and statuary (?),
xxxiv, 50, 72), xxxv, 76, 108, III,
122.
R 2
I
Aristeides, painter, vii, 126 (App. 1);
xxxv, 24, 98-100, no, 122.
Aristoboulos, painter, xxxv, 146.
Aristodemos, statuary, xxxiv, 86.
Aristokleides, painter, xxxv, 138.
Aristokydes, painter, xxxv, 146.
Aristolaos, painter, xxxv, 137.
Ariston, chaser and statuary, xxxiii.
156; xxxiv, 85.
Ariston, painter, xxxv, no, iii.
Aristonidas, painter and statuary,
xxxiv, 140 ; xxxv, 146.
Aristophon, painter, xxxv, 138.
Arkesilaos, modeller and sculptor,
xxxv, 155, 156 xxxvi, 33, 41.
;
Arkesilas, painter, xxxv, 146.
Artemon, painter, xxxv, 139.
Artemon, sculptor, xxxvi, 38.
Asklepiodoros, painter, xxxv, 80,
107.
Asklepiodoros, statuary, xxxiv, 86.
Asopodoros, statuary, xxxiv, 50.
Athanodoros, sculptor and statuary,
xxxiv, 86 xxxvi, 37.
;
Athanodoros, statuary, xxxiv, 50.
Athenion, painter, xxxv, 134.
Athenis, sculptor, xxxvi, 11 -14.
Attius Priscus, painter, xxxv, 1 20.
Autoboulos, painter, xxxv, 148.
Avianius Evander, xxxvi, 32.
Baton, statuary, xxxiv, 73, 91.
Batrachos, sculptor, xxxvi, 42.
Boedas, statuary, xxxiv, 66, 73.
Boethos, chaser and statuary, xxxiii,
155; xxxiv, 84.
Boularchos, painter, vii, 126 (App. i);
xxxv, 55.
Eoupalos, sculptor, xxxvi, 11-13.
Boutades, modeller, xxxv, 151, 152,
163-
Bryaxis, statuary and sculptor, xxxiv,
42, 73; xxxvi, 22, 30,31.
Bryetes, painter, xxxv, 123.
Chaireas, statuary, xxxiv, 75-
244 INDEX
Chalkosthenes, statuary and modeller,
xxxiv, 87 XXXV, 155.
; Eupompos,
Chares, statuary, xxxiv, 41, 44.
Channadas, painter, xxxv, 56.
Charmantides, painter, xxxv, 146.
Chersiphron, architect, xxxvi, 95
(App. 7).
Coponius, sculptor, xxxvi, 41.
Cornelius Finns, painter, xxxv, 120.
Daidalos, sculptor, vii, 125 (App. 3);
Athenag. IIpeff/3. 17 (App. 11)
Daidalos, statuary, xxxiv, 76.
Daimon, statuary, xxxiv, 87.
Daiphron, statuary, xxxiv, 87.
Daippos, statuary, xxxiv, 87.
Damokritos, statuary, xxxiv, 87.
Damophilos, painter and modeller,
xxxv, 154.
Deinias, painter, xxxv, 56.
Deinomenes, statuary, xxxiv, 50, 76.
Deinon, statuary, xxxiv, 50.
Deliades, statuary, xxxiv, 85.
Demeas, statuary, xxxiv, 50.
Demetrios, statuary, xxxiv, 76.
Demophilos, painter, xxxv, 61.
Derkyllidas, sculptor, xxxvi, 36.
Dikaiogenes, painter, xxxv, 146.
Diogenes, sculptor, xxxvi, 38.
Dionysios, painter, xxxv, 113, 148.
Dionysios, sculptor, xxxvi, 35.
Dionysodoros, statuary, xxxiv, 85.
Dionysodoros, painter, xxxv, 146.
Diopos, modeller, xxxv, 152.
Dioskourides, graver, xxxvii, 8 (App.
10).
Dipoinos, sculptor, xxxvi, 9, 10, 14.
Dorotheos, painter, xxxv, 91.
Eirene, painter, xxxv, 147.
Ekphanlos, painter, xxxv, 16.
Elasippos, painter, xxxv, 122.
Endoios, sculptor, xvi, 214 (App. 4)
Athenag. Ilpeaff. 17 (App. 11).
Epigonos, statuary, xxxiv, 88.
Erigonos, painter, xxxv, 145.
Erillos, painter, xxxv, 114..
Euboulides, statuary, xxxiv, 88.
Euboulos, statuary, xxxiv, 88.
Eucheir, painter, vii, 205 (App. 3).
Eucheir, modeller, xxxv, 152.
Eucheir, statuary, xxxiv, 91.
Eudoros, painter and statuary, xxxv,
141.
Euenor, painter, xxxv, 60.
Eugrammos, modeller, xxxv, 152.
Eumaros, painter, xxxv, 56.
Eunikos, chaser and statuary, xxxiii,
156 i xxxiv, 85.
Euphorion, statuary, xxxiv, 85.
Enphranor, painter and statuary,
xxxiv, 50, 77; xxxv, iii, 128-130,
146.
I
Euphron, statuary, xxxiv, 51.
painter, xxxiv, 61 ; xxxv,
64. 75-
Euthykrates, statuary, xxxiv, 5 1, 66, 83.
Euthymides, painter, xxxv, 146.
Eutychides, painter, statuary and
sculptor, xxxiv, 51, 78 xxxv, 141
;
xxxvi, 34.
Euxeinidas, painter, xxxv, 75-
Fabius Pictor, painter, xxxv, 19.
Famulus, painter, xxxv, 120.
Glaukides, statuary, xxxiv, 91.
Glaukion, painter, xxxv, 134.
Gorgasos, modeller and painter, xxxv,
154-
Gorgias, statuary, xxxiv, 49.
Habron, painter, xxxv, 141, 146.
Hagelaidas, statuary, xxxiv, 49, 55, 57-
Hagesander, sculptor, xxxvi, 37.
Hegesias, statuary, xxxiv, 78.
*Hedys*, chaser, xxxiii, 156.
Hegias, statuary, xxxiv, 49, 78.
Hekataios, chaser and statuary, xxxiii,
156, xxxiv, 85.
Heliodoros, statuary and sculptor,
xxxiv, 91 ; xxxvi, 35.
Heniochos, sculptor, xxxvi, 33.
Herakleides, painter, xxxv, 13,5, 146.
Hermolaos, sculptor, xxxvi, 38
Hikanos, statuary, xxxiv, 91.
Hippys, painter, xxxv, 141.
Hygiainon, painter, xxxv, 56.
Hypatodoros, statuary, xxxiv, 50.
laia, painter, xxxv, 147, 148.
Ion, statuary, xxxiv, 51.
lophou, statuary, xxxiv, 91.
Isodotos, statuary, xxxiv, 78.
Isogonos, statuary, xxxiv, 84.
Kalamis, chaser, statuary and sculptor,
xxxiii, 155 xxxiv, 47, 71 xxxvi, 36.
; ;
Kalates, painter, xxxv, 114.
Kallides, statuary, xxxiv, 85.
Kallikles, painter, xxxv, 114.
Kallikles, statuary, xxxiv, 87.
Kallikrates, sculptor, xxxvi, 43.
Kallimachos, statuary and painter,
xxxiv, 92.
Kallistratos, statuary, xxxiv, 52.
Kallixenos, statuary, xxxiv, 52.
Kallon, statuary, xxxiv, 49.
Kalypso, painter, xxxv, 147.
Kanachos, statuary and sculptor,
xxxiv, 50, 75 xxxvi, 41.
;
Kantharos, statuary, xxxiv, 85.
Kenchramos, statuary, xxxiv, 87.
Kephisodoros, statuary, xxxiv, 74.
Kephisodoros, painter, xxxv, 60.
Kephisodotos, statuary, xxxiv, 50, 87.
 NAMES OF ARTISTS
Kephisodotos, statuary and sculptor,
xxxiv, 51, 87; xxxvi, 24.
Kepis, statuary, xxxiv, 87.
Kimon, painter, xxxv, 56.
Kleanthes, painter, xxxv, 16, Athenag.
npirrP. 17 (App. 11).
Kleomenes, sculptor, xxxvi, 33.
Kleon, painter, xxxv, 140.
Kleon, statuary, xxxiv, 87.
Koines, painter, xxxv, 140.
Kolotes, statuary, xxxiv, 87 ; xxxv, 55.
Koroibos, painter, xxxv, 146.
Krateros, sculptor, xxxvi, 38.
Kratinos, painter, xxxv, 140, 147.
Kraton, painter, Athenag. Tlpiaff. 17
(App. II).
Kresilas, statuary, xxxiv, 53, 74.
Kritios, statuary, xxxiv, 49, 85.
Kronios, graver, xxxvii, 8 (App. 10).
Ktesias, statuary, xxxiv, 85.
Ktesidemos, painter, xxxv, 1 14, 140.
Ktesikles, painter, xxxv, 140.
Ktesilaos, statuary, xxxiv, 76.
Ktesilochos, painter, xxxv, 140.
Kydias, painter, xxxv, 130.
Kydon, statuary, xxxiv, 53.
Laippos, statuary, xxxiv, 51, 66.
Leochares, statuary and sculptor,
xxxiv, 50, 79; xxxvi, 30, 31.
Leon, painter, xxxv, 141.
Leon, statuary, xxxiv, 91.
Leontiskos, painter, xxxv, 141.
Lesbokles, statuary, xxxiv, 85.
Lykios, statuary, xxxiv, 50, 79.
Lysias, sculptor, xxxvi, 36.
Lysippos, statuary, xxxiv, 37, 40, 41,
51, 61-67, 8°; xxxv, 153; vii, 125
(App. 1).
Lysistratos, statuary and modeller,
xxxiv, 51 xxxv, 153.
;
Lyson, statuary, xxxiv, 91.
Melanthios, painter, xxxv, 50, 76, 80.
Melas, sculptor, xxxvi, 11.
Menaichmos, statuary, xxxiv, 80.
Menestratos, sculptor, xxxvi, 32.
Menodoros, statuary, xxxiv, 91.
Menogenes, statuary, xxxiv, 88.
Mentor, chaser and statuary, xxxiii,
154; vii, 127 (App. i).
Metrodoros, painter, xxxv, 135.
Mikkiades, sculptor, xxxvi, 11.
Mikon, statuary and painter, xxxiv,
88 xxxv, 59.
;
Milon, painter, xxxv, 146.
Mnasilaos, painter, xxxv, 122.
Mnasitheos, painter, xxxv, 146.
Mnasitimos, painter, xxxv, 146.
Myagros, statuary, xxxiv, 91.
Myrmekides, sculptor, xxxvi, 43.
Myron, statuary and sculptor, xxxiv,
10,49,50,57-59,68,79; xxxvi, 32.
245
Mys, chaser, xxxiii, 155.
Naukeros, statuary, xxxiv, 80.
Naukydes, statuary, xxxiv, 50, 80.
Nealkes, painter, xxxv, 104, 142, 145,
146.
Nearchos, painter, xxxv, 141, 147.
Neokles, painter, xxxv, 146.
Neseus, painter, xxxv, 6i.
Nesiotes, statuary, xxxiv, 49.
Nessos, painter, xxxv, 146.
Nikanor, painter, xxxv, 122.
Nikeratos, statuary, xxxiv, 80, 88.
Nikeros, painter, xxxv, 11 1.
Nikias, painter, xxxv, 133.
Nikias, painter, xxxv, 27, 130-134.
Nikomachos, painter, xxxv, 50, 108-
109. 145. 146.
Nikophanes, painter, xxxv, 11 1, 137.
Nikosthenes, painter, xxxv, 146.
Oinias, painter, xxxv, 143.
Olympias, painter, xxxv, 148.
Pacuvius, painter, xxxv, 19.
Pamphilos, painter, xxxv, 75-77, 123.
Panainos, painter, xxxv, 54, 57, 58,
177; xxxvi, 177 (App. 8).
Papylos, sculptor, xxxvi, 34.
Parrhasios, painter, xxxv, 60, 64, 65,
67-72, 129.
Pasias, painter, xxxv, 145.
Pasiteles, chaser, modeller, sculptor,
and statuary, xxxiii, 156 ; xxxv,
156 xxxvi, 35, 39, 40.
;
Patrokles, statuary, xxxiv, 50, 91.
Pausias, painter, xxi, 4 (App. 5)
xxxv, 123-127, 128, 137.
Pedius (Quintus), painter, xxxv, 21.
Peiraikos, painter, xxxv, 112.
Perellos, statuary, xxxiv, 49.
Periklymenos, statuary, xxxiv, 91.
Perillos, statuary, xxxiv, 89.
Perseus, painter, xxxv, iii.
Phalerion, painter, xxxv, 143.
Phanis, statuary, xxxiv, 80.
Pheidias, painter, sculptor and statuary,
xxxiv, 49, 63, 54, 56, 72, 87 ; xxxv,
54. 66. 67; 'fxxvi, 15-19; App.
I, 8, II.
Philiskos, sculptor, xxxvi, 34, 35.
Philiskos, painter, xxxv, 143.
Philochares, painter, xxxv, 28.
Philokles, painter, xxxv, 16.
Philon, statuary, xxxiv, 91.
Philoxenos, painter, xxxv, no.
Phradmon, statuary, xxxiv, 49, 53.
Phrynon, statuary, xxxiv, 50.
Piston, statuary, xxxiv, 89.
Plautius, Marcus Lykon, painter,
xxxv, 115.
Polemon, painter, xxxv, 146.
PoUis, statuary, xxxiv, 91.
Polycharmos, sculptor, xxxvi, 35.
2^6 INDEX
Polydeukes, sculptor, xxxvi, 38.
Polydoros, sculptor, xxxvi, 37.
Polygnotos, statuary and painter, vii,
205 (App. 3) ; xxxiv, 85 ; xxxv, 58,
59, 122, 123.
Polyeidos, statuary, xxxiv, gi.
Polykleitos, statuary, xxxiv, 64.
Polykleitos, statuary, xxxiv, 10, 49,
6°. 63, 55, 56, 58, 68, 73.
Polykles, statuary, xxxiv, 50.
Polykles, sculptor and statuary, xxxiv,
53, 80 (?) ; xxxvi, 35.
_
Polykrates, statuary, xxxiv, 91.
Poseidonios, cliaser and statuary,
xxxiii, 156; xxxiv, 91.
Possis, modeller, xxxv, 155.
Praxiteles, painter, sculptor, and sta-
tuary, 127 (App. I); xxxiv, 50,
vii,
69-71 ; xxxv, 122, 133; xxxvi, 20-
23, 24, 28, 34; Athenag. Tlpea^. 17
(App. 11).
Prodoros, statuary, xxxiv, 85.
Protogenes, statuary and painter, vii,
126 (App. i); xxxiv, 91; xxxv, 80,
81-83,88, 101-106, 118.
Pyrgoteles, graver, vii, 125 (App. i) ;
xxxvii, 8 (App. 10).
Pyromachos, statuary, xxxiv, 51, 80,
84 ; xxxv, 146.
Pyrrhos, statuary, xxxiv, 80.
Pythagoras, statuary and painter,xxxiv,
49, 59, 6°, 68.
Pytheas, chaser, xxxiii, 156.
Pythias, statuary, xxxiv, 52.
Pythis, sculptor, xxxvi, 31.
Pythodikos, statuary, xxxiv, 85.
Pythodoros, sculptor, xxxvi, 38.
Pythodoros, sculptor, xxxvi, 38.
Pythokles, statuary, xxxiv, 52.
Pythokritos, statuary, xxxiv, 91.
Rhoikos, modeller and architect, xxxv,
152 xxxvi, 90 (App. 6).
;
Sauras, sculptor, xxxvi, 42.
Saurias, painter, Athenag. IlpeaP. 17
(App. II).
Seilanion, statuary, xxxiv, 51, 81, 82.
Serapion, painter, xxxv, 113.
Simon, statuary, xxxiv, 90.
Simonides, painter, xxxv, 143.
Simos, painter, xxxv, 143.
Skopas, statuary and sculptor, xxxiv,
49,90; xxxvi, 22, 35, 26, 38, 30,
31, 95 (App- 7).
Skyllis, sculptor, xxxvi, 9, 10.
Skynanos, chaser andstatuary,xxxiv,85.
Smilis, architect, xxxvi, 90 (App. 6)
Athenag. Ilpeafi. 17 (App. 11).
Sokrates, painter, xxxv, 137; xxxvi, 32.
Sokrates, sculptor, xxxvi, 32.
Sophokles, statuary, xxxiv, 51.
I
Sopolis, painter, xxxv, 148.
Sosos, mosaic- worker, xxxvi, 184
(App. 9).
Sostratos, statuary, xxxiv, 51, 60.
Stadios, painter, xxxv, 146.
Stephanos, sculptor, xxxvi, 33.
Sthenuis, statuary, xxxiv, 51, 90.
Stratonikos, chaser and statuary, xxxiii,
156; xxxiv, 84, 85, 90.
Strongylion, statuary, xxxiv, 82.
Studius, painter, xxxv, 116.
Styppax, statuary, xxxiv, 81.
Symenos, statuary, xxxiv, 91.
Tauriskos, chaser and painter, xxxiii,
156; xxxv, 144; xxxvi, 33, 34.
Tauriskos, sculptor, xxxvi, 33.
Teisias, statuary, xxxiv, 91.
Teisikrates, statuary, xxxiv, 67, 83,
89; xxxv, 146.
Tektaios, sculptor, Athenag. Ilpecrp.
17 (App. II).
Telekles, sculptor, Athenag. UpiaP.
17 (App. II).
Telephanes, statuary, xxxiv, 68.
Telephanes, painter, xxxv, 16.
Teuker, chaser, xxxiii, 157.
Theodoros, statuary and architect,
xxxiv, 83 xxxv, 146, 152
; App. 2,
;
6, II.
Theomnestos, painter, xxxv, 107.
Theomnestos, statuary, xxxiv, 91.
Theon, painter, xxxv, 144.
Theoros, painter, xxxv, 144.
Therimachos, statuary and painter,
xxxiv, 50 xxxv, 78. ;
Thrakides, chaser, xxxiii, 156.
Thrason, statuary, xxxiv, 91.
Timagoras, painter, xxxv, 58.
Timanthes, painter, xxxv, 64, 72-74.
Timarchides, statuary and sculptor,
xxxiv, 91 ; xxxvi, 35.
Timarchos, statuary, xxxiv, 51.
Timarete, painter, xxxv, 59, 147.
Timokles, statuary, xxxiv, 51.
Timomaciios,painter,vii, 1 36 (App. i)
xxxv, 136, 145.
Timon, statuary, xxxiv, 91.
Timotheos, sculptor and statuary,
xxxiv, 91 ; xxxvi, 30-32.
Titedius Labeo, painter, xxxv, 20.
Turpilius, painter, xxxv, 20.
Vulca, modeller, xxxv, 157.
Xenokrates, statuary, xxxiv, 83.
Xenon, painter, xxxv, 146.
Zenodoros, statuary, xxxiv, 45-47.
Zeuxiades, statuary, xxxiv, 51.
Zeuxis, painter, xxxv, 61-66, iii.
Zopyros, chaser, xxxiii, 156.
 INDEX II

MUSEOGRAPHIC

Agragentum, painting of Alkmena Athens {continued).

by Zeuxis at, xxxv, 62. yeavoftai/Teia painted by Nikias,
Temple of Hera, painting by Zeuxis xxxv, 132.
in, xxxv, 64. <rvyyeviic6v painted by Athenion,
Alexandria, Ptolemy's fool sketched xxxv, 134.
by Apelles, xxxv, 89. Gardens {hv «^iro:s), statue of Aphro-
Gorgosthenes painted by Apelles, dite by Alkamenes, xxxvi, 16.
xxxv, 93. Kerameikos, clay models by Chal-
Ambrakia, terracottas by Zeuxis left, kosthenes, xxxv, 155 ; statues by
statues of the Muses removed to Praxiteles, xxxvi, 20.
Rome, xxxv, 66. Metroon, statue of ' Mother of the
works of Dipoinos in, xxxvi, 14. Gods,' by Agorakritos, xxxvi, 17.
Antium, portraits of gladiators, xxxv, Parthenon, statue of Athena by
52- Pheidias, xxxiv, 54 description
;

Ardea, contains pictures older than of details, xxxvi, 18, 19.

Rome, xxxv, 1 7. Pompeion, picture of comic actors
Temple of Hera, paintings by by Kratinos, xxxv, 140.
Plautius Marcus Lykon, xxxv, 115. Propylon, Paralos and Hammonias,
Argos, works of Dipoinos in, xxxvi, pictures of, by Protogenes, xxxv,
14. loi ; Charites, statues of, by
Hera, statue of, by Smilis, and other Sokrates, xxxvi, 32.
statues by Pheidias, Athenag. Stoa Eleutherios, cavalry engage-
Tlpea$. 17 (App. II). ment. Twelve gods, Theseus,
Athens, Harmodios and Aristogeiton, pictures by Euphranor, xxxv, 129.
statues of, xxxiv, 1 7 statues of,
; Stoa Poikile, paintings by Polygno-
by Praxiteles, xxxiv, 70. tos and Mikon, xxxv, 59.
Demetrios of Phaleron, 360 statues
to, xxxiv, 27. Caere, ancient paintings at, xxxv, 18.
not less than 73,000 statues remain- Chios, celebrated for works by Bou-
ing at, xxxiv, 36. palos and Athenis, xxxvi, 12;
many statues by Alkamenes in mask of Artemis by the same,
temples, xxxvi, 16. xxxvi, 13.
Athena, surnamed 'the Fair,' bronze Corinth, earliest portrait in clay
statue of, by Pheidias, xxxiv, 54 preserved at, Athenag. TlpeaP. 1
statue of, and seated statue of, (App. II).
by Endoios, Athenag. Tlpia^. 17 Temple of the Nymphs, first por-
(App. II). trait in clay by Boutades, xxxv,
Satyr, statue of, by Lysippos, xxxiv, 151.
64. Cyprus, Zeno, statue of, left by Cato,
Leaina, statue of, xxxiv, 72. xxxiv, 92.
shield painted by Pheidias, xxxv, 54.
replica of aTe<pav7jn\6xos of Pausias Delos, images in, by Bonpalos and
bought by LucuUus, xxxv, 125. Athenis, xxxvi, 12.
warrior painted by Antidotos, xxxv, works of Archermos in, xxxvi, 13.
130. Apollo and Artemis, statues of, by
248 INDEX II

Delos {coniimied). Gaul, State of the Arverni,

Tektaios and Angelion, Athenag. Mercury, statue of, by Zenodoros,
UptaB. 17 (App. 11). xxxiv, 45 cups by Kalamis,
;

Delphoi, not less tjian 73,000 statues
remaining at, xxxiv, 36.
Alexander and hunting-gronp by
Lysippos, xxxiv, 64.
Apollo Pythios, statue of, by Theo-
doros and Telekles, Athenag.
Tlpea^l. 17 (App. n).
Herakles, statue of, by Euthykrates,
copied by Zenodoros, xxxiv, 47.
lasos, Artemis, mask of, by Bonpalos
and Athenis, xxxvi, 13.
Karia, Mausoleion, sculptures of, by
Skopas, Bryaxis, Timotheos, Leo-
chares, xxxvi, 30 chariot on, by
;

xxxiv, 66. Pythis, xxxvi, 31.

Pankratiast, statue of, by Pytha- Kleonai, works of Dipoinos in,

goras of Rhegion, xxxiv, 59. xxxvi, 14.

Lesche, paintings by Polygnotos Knidos, Aphrodite, statue of, by
and Mikon, xxxv, 59. Praxiteles, xxxvi, 20, 21, 22 ; vii,
Temple of Apollo, painted by Aristo- 127 (App. i); Athenag. Tlpta^.
kleides, xxxv, 138. 17 (App. II).
Didyma, Apollo Philesios, statue of, Athene, statue of, by Skopas, xxxvi,
by Kanachos, xxxiv, 75. 22.
Dionysos, statues of, by Bryaxis and
Egypt, Janus, statue of, transported Skopas, xxxvi, 22.
to Rome, xxxvi, 28. Kos, Aplirodite, draped statue of, by
lilensis, captain of cavalry, painted Praxiteles, xxxvi, 20; unfinished
by Athenion, xxxv, 134. picture of, by Apelles, xxxv, 87,
maiden painted by Eirene, xxxv, 147. 92.
Elis, Athena, shield of, painted by Kyzikos, Aias and Aphrodite, pic-
Panainos, xxxv, 54. tures of, bought by Agrippa,
Ephesos, painting of Queen Strato- xxxv, 26.
nike, by Ktesikles, xxxv, 140.
Lanivium, Atalanta and Helen,
Apollo, statue of, by Myron, re-
pictures of, xxxv, 17.
stored by Augustus, xxxiv, 58.
Iiebadeia, Trophonios, statue of,
Artemis, picture of, by Timarete,
by Euthykrates, xxxiv, 66.
xxxv, 147.
Iiesbos, works of Archermos in,
Artemis, priest of, painted by
xxxvi, 13.
Nikias, xxxv, 132.
Iiindos, Herakles, picture of, by
Odysseus, picture of, by Euphranor,
Parrhasios, xxxv, 71.
xxxv, 129.
Temple ofAthena, works by Eoethos,
Temple of Artemis, Alexander, pic-
xxxiii, 155.
ture of, by Apelles, xxxv, 92.
Iiysimacheia, Hermes, statue of, by
Amazon, statues of, by Polykleitos,
Polykleitos formerly at, xxxiv, 56.
Pheidias, Kresilas, Kydon, Phrad-
mon, xxxiv, 53.
Ifaples, old woman, picture of, by
Artemis, ebony image of, by En- laia, xxxv, 147.
doios, xvi, 213 (App. 4) ; Athenag.
Up€tr0. 17 (App. II). Olympia, first portrait statues at,
Athena and Dionysos, statues of, xxxiv, 16.
xvi, 213 (App. 4). not less than 73,000 statues remain-
Herakles, statue of, by Menestratos, ing at, xxxiv, 36.
xxxvi, 32. Astylos, boy with tablet, nude
Hekate, statue of, in shrine behind figure bearing apples, statues of,
temple, xxxvi, 32. by Pythagoras of Rhegion, xxxiv,
Thirty-six sculptured columns, one
59-
by Skopas, xxxvi, 95 (App. 7 ). Zeus, statue of, by Pheidias, xxxiv,
cups by Mentor, vii, 127 (App. i)
49 ; xxxvi, 18 ; vii, 127 (App. i).
perished in fire, xxxiii, 1 54.
Epidatiros, Asklepios, statue of, by Paiion, colony of
Pheidias, Athenag. Ilpca/S. 17 Eros, statue of, by Praxiteles, xxxvi,
(App. II). 22.
Etruria, Tuscan statues made there, Herakles, statue of, by Hegesias,
xxxiv, 34. xxxiv, 78.
 MUSEOGRAPHIC 249

Peiraeus, Temple of Zeus the Saviour, Borne {continued).

Athena, statue of, by Kephiso- Cloelia, equestrian statue of, xxxiv,
doros, xxxiv, 74. 28, 29.
altar by Kephisodoros, xxxiv, Corinthian bronze, statue of, owned
74- by C. Sestius, xxxiv, 48.
Pella, dying mother with child, C. Duillius, column of, xxxiv, 20.
picture of, by Aristeides, xxxv, equestrian statues, xxxiv, 19, 28.
98. Fabricius, statue of, xxxiv, 32.
Pergamon, Priest in prayer, and fruit modelled by Possis, xxxv,
Aias, pictures of, by Apollodoros, 155-
xxxv, 60, Hannibal, three statues of, xxxiv, 32.
marble av/jLirKey^ by Kephiso- Hercules, statues of, by Polykleitos,
dotos, xxxvi, 34. xxxiv, 56 ; in clay by Vulca,
dodpwTos oTkos, mosaics in, xxxvi, xxxv, 157.
184 (App. 9). M. Horatius Codes, statue of,
Praeneste, miniature chariot, horses, xxxiv, 32, 39.
and driver, by Theodoros, xxxiv, Janus, statue of, dedicated by
83. Numa, xxxiv, 33.
Lupercales, statues of, xxxiv, 18.
C. Maenius, column of, xxxiv, 20.
Khamnous, statue of Nemesis, by Mancinus, statue of, xxxiv, 18.
Agorakritos, xxxvi, 1 7. Marius Gratidianus, numerous
Rhodes, 73,000 statues remaining in, statues of, xxxiv, 2 7.
xxxivj 36. multitude of works of art in, xxxvi,
colossal statue of the Sun, by 37.
Chares of Lindos, xxxiv, 41. Nero, colossal statue of, by Zeno-
100 colossal statues in, xxxiv, 43. doros, afterwards dedicated to the
five colossal statues by Bryaxis, Sun, xxxiv, 45.
xxxiv, 42. pictures from Sikyon, xxxv, 137.
chariot, horses, and statue of the scenery at games of Claudius Pul-
Sun, by Lysippos, xxxiv, 63. cher, xxxv, 23.
Zethos, Amphion, Dirke and bull, sphynx in bronze owned by Hor-
marble group of, by ApoUonios tensius, xxxiv, 48.
and Tauriskos, removed to Rome, statues, 3,000 on temporary stage,
xxxvi, 34. xxxiv, 36.
Athamas, copper and iron statue of, Taracia Gaia or Fufetia, statue of,
by Aristonidas, xxxiv, 140. xxxiv, 35.
Herakles, iron statue of, by Alkon, Asmius Pollio, gallery of, statues
xxxiv, 141. in, Aphrodite by Kephisodotos,
lalysos, picture of, by Protogenes, xxxvi, 24, Dionysos by Euty-
xxxv, 104; spared byDemetrios, chides, xxxvi, 34, Mainades,
vii, 136 (App. i). Thyiades, Karyatides, Seilenoi, by
Satyr resting, picture of, by Proto- Praxiteles, xxxvi, 33, Kentaurs
genes, xxxv, 106. and Nymphs by Arkesilas, Thes-
Meleager, Herakles and Perseus, piades by Kleomenes, Okeanos
picture of, by Protogenes, xxxv, and Zeus by Heniochos, Appiades
69. by Stephanos, Hermerotes by
Menander and Antaios, portraits of, Tauriskos, Zeus Xenios by
by Apelles- xxxv, 93. Papylos, Zethos, Amphion,
Temple of Dionysos, cups chased Diike and bull by ApoUonios
by Akragas and Mys, xxxiii, 155. and Tauriskos, xxxvi, 33, 34
Eome, C. Aelius, statue of, xxxiv, basket-bearer by Skopas and
32. goal-posts, xxxvi, 34.
Alexander's bodyguard, statues of, Augustus, temples built by, works by
by Lysippos, xxxiv, 64. Boupalos and Athenis, xxxvi, 13.
Amazon, figure of, owned by Nero, Baths of Agrippa, small paintings
xxxiv, 48. in walls of, xxxv, 26 Apoxy-
;

Apollo and Poseidon, statues of, by omenos, bronze statue by Ly-

Praxiteles, xxxvi, 23. sippos, xxxiv, 62.
Ceres, bronze image of, the first Capitol, Apollo, colossal statue of,
ever made, xxxiv, 1 5. from ApoUonia, xxxiv, 39.
25°
Borne {continued).
Athena, bronze statue of,
phranor, below the, xxxiv, 77.
battlepiece exhibited by L. Scipio,
XXXV, 22.
Spiirins Carvilius, statue of, at feet
of colossal Jupiter, xxxiv, 43.
colossal heads by Chares and
. . dikos, xxxiv, 44.
. statue of, xxxiv, iR.
Good Luck and Good
statues of, by Praxiteles, xxxvi,
23-
Herakles, colossal statue
Tarentum, xxxiv, 40.
Jupiter, colossal statue of, xxxiv, 43.
Kings, statues of, xxxiv, 22, 29.
Temples on, of Faith, oi Juno, of
Jupiter Capitolinus, of Jupiter
the Thunderer, of Minerva, see
Temples.
Cattle Market, bronze bull from
Aigina, xxxiv, 10.
Hercules, bronze statue of, dedi-
cated by Evander, xxxiv, 33.
Temple of Hercules, see Temples.
Comitium, Hermodoros of Ephesos,
statue of, xxxiv, 21.
Pythagoras and Alkibiades, statues
xxxiv, 26.
of,
Curia Hostilia, in front of, Attus
Navius, statue of, xxxiv, 21, 22,
29.
at side of, battle-piece exhibited
Messala, xxxv, 22.
Curia Julia, pictures in, Nemea by
Nikias, xxxv, 27, 131 ; Glaukion
and Aristippos, portraits
Philochares, xxxv, 28.
Field of Mars, Jupiter, colossal
statue of, xxxiv, 40.
Forum, many pictures in ; Gaul and
old shepherd, pictures of, xxxv,
25-
picture of assault of Carthage ex-
hibited, xxxv, 23.
P. Junius, Ti. Coruncanius, statues
of, xxxiv, 24.
magistrates, statues of, removed by
censors, xxxiv, 30.
Old Shops, picture on, by Serapion,
xxxv, 113.
Regia, in front of, two statues from
tent of Alexander, xxxiv, 48.
Rostra, Cn. Octavius, statue of,
upon the, xxxiv, 24.
envrfys killed on embassy, statues of,
upon the, xxxiv, 23, 24.
Camillus, statue of, upon the, xxxiv,
23-
Herakles in tunic, statue of,
the, xxxiv, 93.
INDEX II
Borne {continued).
by En- Sibyl, three statues of, beside the,
xxxiv, 22, 29.
Forum of Augustus, pictures there
by Apelles, of War and Triumph,
and of Kastor, Polydeukes, and
Victory, xxxv, 27, 93.
Forum of Caesar, Dictator Caesar,
Fortune, Gallery of Metellus, statue of Cor-
nelia formerly there, xxxiv, 31.
Gallery of the Nations, in front of,
of, from Hercules, statue of, xxxvi, 39.
Galleries of Octavia, Cornelia, statue
of, xxxiv, 31.
Apotheosis of Herakles, picture of,
by Artemon, xxxv, 139.
Story of Laomedon, Herakles, and
Poseidon, picture of, by Artemon,
xxxv, 139.
Aphrodite, statue of, by Pheidias,
xxxvi, 15.
Scholae and Council Chamber in,
Hesione and group of Alex-
ander, Philip, and Athene, painted
by Antiphilos, xxxv, 114; Eros,
statue of, by Praxiteles, xxxvi,
22 Satyrs and wind-goddesses,
;
marble groups of, xxxvi, 29
many statues by unknown sculp-
tors,xxxvi, 29. Alkibiades as
Eros, statue by Skopas or Praxi-
by teles, xxxvi, 28.
Gallery of Octavius, bronze capitals
of columns, xxxiv, 1 3.
Gallery of Temple of Peace, Aphro-
of, by dite, statue of, by unknown artist,
xxxvi, 27.
Gallery of Philip, pictures in,
Dionysos, the young Alexander,
and Hippolytos by Antiphilos,
xxxv,ii4; Helen by Zeuxis, xxxv,
66 cycle representing Trojan
;
war, by Theoros. xxxv, 144.
Gallery of Pompeius, pictures in,
Kadmos and Europa by Anti-
philos, xxxv, 114; Alexander by
Nikias, xxxv, 132; sacrifice of
oxen by Pausias, xxxv, 126;
warrior by Polygnotos, xxxv, 59.
Gardens of Mains, Nero, colossal
portrait of, xxxv, 51.
Gardens of Servilius, statues in,
Flora, Triptolemos, Demeter, by
Praxiteles, xxxvi, 23 ; Hestia,
seated statue by Skopas, placed
between two goal-posts, xxxvi,
25 Apollo by Kalamis, boxers
;
by Derkyllidas, portrait of Kalli-
beside sthenes by Amphistratos, xxxvi,
36-

Eome {continued).
Trigemina Gate, outside the,
of L. Minucius, xxxiv, 21.
Golden House of Nero, bronzes col-
lected by Nero, xxxiv, 84 paint-
ings by Famulus in, xxxv, 120.
Palatine, House of the Caesars,
panel with lines by Apelles and
Protogenes, xxxv, 83 ; filled with
statues by Krateros and Pytho-
doros, Polydeukes and Hermo-
laos, Pythodoros and Artemon,
and Aphrodisios of Tralles, xxxvi,
38.
Palatine, Chapel above Arch, chariot
and horses. Apollo, Artemis,
marble group by Lysias, xxxvi,
36.
PaBMeawz, bronze capitalsofcolumns,
xxxiv, 13 decorated with sculp-
; xxxvi, 39
tures by Diogenes, xxxvi, 38-
Saepta, Olympos and Pan, Cheiron
and Achilles, groups by unknown
sculptors, xxxvi, 29.
Tarquin, House of, Valeria, statue
of, xxxiv, 29.
Temples
Apollo in Circus of Flaminius, tragic
actor and boy, picture of, by
Aristeides, xxxv, 99 children of
; Hercules, in Cattle Market, paint-
Niobe, statues of, by Skopas or
Praxiteles, xxxvi, 28 Apollo by ;
Philiskos ; Leto, Artemis, nine
Muses and Apollo Apollo by ; Hercules Ponipei, Hercules, statue
Timarchides with cithara, statues
xxxvi, 34.
of,
Apollo of the Palatine, Apollo,
statue of, by Skopas, xxxvi, 25;
Artemis, statue of, by Timotheos,
xxxvi, 32 Leto, statue of, by
; Praxiteles, brought
Kephisodotos, xxxvi, 24 ; bronze
lamp, xxxiv, 14 statues by Bou-
; Janus, Janus, statue of, dedicated
palos and Athenis, in fastigio,
xxxvi, 13.
Augustus, pictures dedicated there
by Tiberius, xxxv, 28 pictures
of Hyakinthos, by Nikias, from
Alexandria, and of Danae, xxxv,
131 ; Library of, Tuscan Apollo,
colossal statue of, xxxiv, 43.
Castor and Pollux, in front
Q. Marcius Tremulus, statue
xxxiv, 23.
Ceres, decorated with painted terra-
cottas by Damophilos and Gor-
gasos, xxxv, 154; Dionysos and
Ariadne, picture of, by Aristeides,
xxxv, 24, 99.
Concord, statues of Asklepios and
Hygieia, by Nikeratos, xxxiv, 80 ;
Apollo and Hera, by Baton,
MUSEOGRAPHIC 251
Eome {continued).
column xxxiv, 73 Ares
; and Hermes, by
Piston, xxxiv, 89 ; Demeter, Zeus,
Athena, by Sthennis, xxxiv, 90 ;
; Leto witli infant Apollo and
Artemis, by Euphranor, xxxiv,
77- Pictures of Dionysos, by
Nikias, xxxv, 131 ; Kassandra,
by Theoros, xxxv, 144; Marsyas
bound, by Zeuxis, xxxv, 66.
Diana, in Circus of Flaminius,
Herakles painted by Apelles,
xxxv, 94.
Earth, in vicinity of, Spurius Cas-
sius, statue of, xxxiv, 30.
Faith, on Capitol, old man and boy,
picture of, by Aristeides, xxxv,
100.
Felicitas, Thespiades, statues of,
Aphrodite, statue of,
;
by Praxiteles, xxxiv, 69 in front ;
of, bronze statues by Praxiteles,
xxxiv, 69.
Fortune of the Day, statues in,
Athena, two draped figures, nude
Colossus, all by Pheidias, xxxiv,
54 ; seven nude and one of old
man, by Pythagoras of Samos,
xxxiv, 60.
ings by Pacuvius, xxxv, 19.
Hercules Musarum, muses, statues
of, xxxv, 66.
of, by Myron, xxxiv, 57.
Honour and Virtue {twin temples),
paintings by Cornelius Pinus and
Attius Priscus, xxxv, 120.
Janus, statue of Janus by Skopas or
from Egypt,
xxxvi, 28.
by Numa, xxxiv, 33.
Julius Caesar, Aphrodite Anadyo-
mene, picture by Apelles, xxxv,
; 27, 91 Aphrodite, picture of, by
;
Dorotheos, xxxv, 91.
Juno on Capitol, bronze dog, xxxiv,
38-
Juno within gallery of Octavia,
of, Asklepios and Artemis, statues of,
of, by Kephisodotos, xxxvi, 24
statues of Juno by Dionysios and
Polykles, and Aphrodite by
Phili.skos statues by Pasiteles,
;
xxxvi, 35 decorations appro-
;
priate to Jupiter, xxxvi, 43.
Jupiter of the Capitol, statue of
Jupiter in clay by Vulca, xxxv,
157; four horse chariots in clay
on roof of, xxxv, 157; cups by
253 INDEX II

Eome {continued). Kome {continued').

Mentor, vii, 127 (App. i)
ished there in fire, xxxiii, 154.
Pictures of Theseus, by Parrhasios,
XXXV, 69, and of Victory and
horses, by Nikomachos, xxxv,
;
per- Tiberius, apartments of, priest of
Kybele, portrait of, by Parrhasios,
xxxv, JO.
Titus, house of Laokoon, group by
three artists, xxxvi, 37 two boys ;

108. playing at knuckle-bones by

Jupiter the Thunderer on Capitol, Polykleitos, xxxiv, 55.
statue of Jupiter by Leochares,
in Dalian bronze, xxxiv, 10, 79 ;
Samothrake, Aphrodite and Pothos,
in front, statues of Kastor and statues of, by Skopas, xxxvi, 25.
Polydeukes by Hegias, xxxiv, Samos, Aias, picture of, by Parrhasios,
78. xxxv, 72 Habron, picture of, by
;

Jupiter, within gallery of Octavia, Apelles, xxxv, 93 Hera, statue ;

Jupiter, statue of, by Dionysios of, by Smilis, and other statues by

and Polykles, Pan and Olympos
by Heliodoros, Aphrodite by
Daidalos, Aphrodite by Poly-
charmos, xxxvi, 35 ;
statue of, by Pasiteles, xxxvi, 40
decorations appropriate to Juno,
xxxvi, 43.
Mars the Avenger, in front of, two
statues from tent of Alexander,
xxxiv, 48.
Mars, built by Brutus Callaecus,
Ares and Aphrodite, statues of,
by Skopas, xxxvi, 26.
Minerva on Capitol, Rape of Perse-
phone, picture of, by Nikomachos,
Pheidias, Athenag. Upea^. 17
(App. II).
Sikyon, Apollo, Artemis, Herakles,
Jupiter, Athena, statues of, by Dipoinos
and Sky His, xxxvi, 10; Telestes,
monument of, painted by Niko-
machos, xxxv, 109 ;
pictures re-
moved to Rome, xxxv, 127.
Smyrna, old woman, statue of, by
Myron, xxxvi, 33.
Syracuse, lame man, statue of, by
Pythagoras of Rhegion, xxxiv, 59.
Tarentum, Herakles, colossal statue
of, taken to Rome
Zeus, colossal
;

xxxv, 108. statue of, by Lysippos, xxxiv, 40.

Mttses, L. Accius, statue of, xxxiv, Thebes, cithara-player, statue of, by
19. Pythagoras of Rhegion, xxxiv,
Neptune, tn Circus of Flaminius, 69 ; old man, statue of, by Teisi-
Poseidon, Thetis, Achilles, Ne- krates, xxxiv, 67.
reids and sea-beasts, marble Thespiai, Eros, statue of, by Praxi-
group by Skopas, xxxvi, 26. teles, removed to gallery of
Peace, works in bronze dedicated by Octavia, xxxvi, 22 ; Alexander
Vespasian, xxxiv, 84 hero, pic-
; hunting, Thespiades, equestrian
ture of, by Timanthes, xxxv, 74 ; combat, bronze groups of, all by
lalysos, picture of, by Protogenes, Euthykrates, xxxiv, 66 ; wall
xxxv, 102 Scylla, picture of, by
; paintings at, by Polygnotos and
Nikomachos, xxxv, 109. Pausias, xxxv, 123.
Safety, in Quirinali, paintings by Thessaly, works of Telephanes there,
Fabius Pictor, xxxv, 19. xxxiv, 68.
Venus the Mother, statue of Venus Tusouliun, Argonauts, picture of, by
by Arkesilaos, xxxv, 156. Aias Kydias, xxxv, 130 ; Grove of
and Medeia, pictures of, by Timo- Diana, first picture of gladiatorial
machos, xxxv, 26, 136 vii, 126 ; show, xxxv, 52.
(App. 1).
Theatre of Pompeius, Fourteen na- Verona, pictures by Turpilius, xxxv,
tions, statues of, by Coponius, 20.
xxxvi, 41. Volsinii, 2,000 statues at, xxxiv, 34.

THE END